CLEVELAND ORCHESTRA
Youth Orchestra .
V I N AY PA R A M E S WA R A N
M U S I C D I R E C TO R
December 1, 2O17 Severance Hall
2O1 7-18 S E A S O N
E A S T M A N
S C H O O L
O F
M U S I C
YOUR PASSION. YOUR PATH. YOUR FUTURE.
FACULTY VIOLIN Federico Agostini Juliana Athayde Bin Huang Renée Jolles Mikhail Kopelman Oleh Krysa Robin Scott VIOLA Masumi Per Rostad George Taylor Phillip Ying
CELLO Steven Doane Alan Harris David Ying BASS James Van Demark HARP Kathleen Bride FLUTE Bonita Boyd
For application information visit esm.rochester.edu/admissions
OBOE Richard Killmer CLARINET Kenneth Grant Jon Manasse SAXOPHONE Chien-Kwan Lin BASSOON George Sakakeeny HORN W. Peter Kurau
TRUMPET James Thompson Douglas Prosser TROMBONE Mark Kellogg Larry Zalkind TUBA Don Harry PERCUSSION Michael Burritt
Prelude Concert Cleveland Orchestra Youth Orchestra
Friday evening, December 1, 2017, at 7:00 P.M. Reinberger Chamber Hall in Severance Hall 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 ensemble represents our pioneering Advanced Performance Seminar program, in which Cleveland Orchestra coaches also perform in the chamber ensembles with Youth Orchestra students. C Coaches are denoted with (*) next to their name.
W. A. MOZART (1756-1791)
from String Quartet No. 21 in D major, K575 4. Allegretto Masayoshi Arakawa, violin Yun-Ting Lee, violin* Ginger Deppman, viola Theodora Bowne, cello
W. A. MOZART (1756-1791)
from Duet for Violin and Viola, K423 2. Adagio Andrew Smeader, violin Sonja Braaten Molloy, viola*
J. S. BACH (1685-1750)
JULIUS KLENGEL (1859-1933)
Air on the G String, from Orchestral Suite No. 3 Air (arranged for four cellos)
from Two Pieces (for four cellos), Opus 5 2. Humoresque Paul Kushious, cello* Matthew Fields, cello Zach Keum, cello Katarina Davies, cello
coached by Cleveland Orchestra members: Yun Ting-Lee, violin Sonja Braaten Molloy, y violin Paul Kushious, cello
SEVERANCE HALL
Prelude Concert
3
1986
1OO 2
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 Orchestra 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.
Through this season . . . COYO has performed the world premieres of
4
Eight music directors have led COYO since 1986: Jahja Ling, Gareth Morrell, Steven Smith, James Gaffigan, Jayce Ogren, James Feddeck, Brett Mitchell, and Vinay Parameswaran.
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 .
V I N AY PA R A M E S WA R A N
M U S I C D I R E C TO R
2O1 7-18 S E A S O N
Friday evening, December 1, 2017, at 8:00 P.M. Severance Hall — Cleveland, Ohio Vinay Parameswaran, conductor LUDWIG VAN BEETHOVEN
Leonore Overture No. 3
SAMUEL BARBER
Symphony No. 1, Opus 9
(1770-1827)
(1910-1981)
(in one movement) INTERMISSION
SERGEI PROKOFIEV
(1891-1953)
Suite from Romeo and Juliet 1. 2. 3. 4. 5. 6. 7. 8.
Montagues and Capulets Morning Dance Juliet — The Young Girl Minuet Masks Romeo and Juliet Death of Tybalt Death of Juliet
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, March 25, 2018, at 4:00 p.m. and on Saturday, September 1, 2018, at 8:00 p.m.
SEVERANCE HALL
Concert Program
5
CLEVELAND ORCHESTRA
Youth Orchestra .
V I N AY PA R A M E S WA R A N FIRST VIOLIN Julia Schilz
Moshi Tang
CONCERTMASTER Hathaway Brown School
Lea Kim
Célina Béthoux
Hawken School Solon High School
ASSISTANT CONCERTMASTER Home schooled
Katya Schane
Masayoshi Arakawa
Richard Jiang
Solon High School
Hannah Lindvall Ohio Virtual Academy
Andrew Smeader Padua Franciscan High School
Owen Lockwood Shaker Heights High School
Annika Bowers Home schooled
Claire Schmeller Medina High School
Erika Lee Strongsville High School
Brice Bai Hathaway Brown School
Uzo Ahn University School
M U S I C D I R E C TO R
Oberlin High School Solon High School
Elizabeth Huang Shaker Heights Middle School
Claudia Hamilton Hawken School
Alexandra Xuan Lake High School
Kevin Du Hudson High School
Sofia Ayres-Aronson Shaker Heights High School
Kaylee Bontrager Home schooled / Central Christian School
Maya Schane Oberlin High School
Strongsville High School Solon High School
Samantha Ma Revere Middle School
Ayano Nakamura Hudson High School
Tae-Hee Kim Hathaway Brown School
VIOLA Mikel Rollet PRINCIPAL Montessori High School
Sam Rosenthal ASSISTANT PRINCIPAL Shaker Heights High School
Natalie Brennecke Home schooled
Claire Peyrebrune SECOND VIOLIN Wenlan Jackson
Adam Warner
PRINCIPAL Shaker Heights High School
Charlotte Lo
Christine Shih
The Lyceum Cleveland School of the Arts Shaker Heights High School
ASSISTANT PRINCIPAL Dublin Jerome High School
Ginger Deppman
Maria Zou
Sandy Shen
Hudson High School
Moonhee Kim Beachwood Middle School
Cole Hoff Westlake High School
FLUTE Krysta-Marie Aulak P
PRINCIPAL Home schooled
Kara Li R
Shaker Heights High School
Matthew Fields
Copley High School
ASSISTANT PRINCIPAL Cleveland Heights High School
Jason Suh N Shaker Heights High School
Lily Waugh
Zachary Keum
Cleveland Heights High School
University School
Katarina Davies
PICCOLO Krysta-Marie Aulak R Kara Li P
Home schooled
Faith Geho Twinsburg High School
Rachelle Larivee Hudson High School
OBOE Amelia Johnson P
Theodora Bowne Shaker Heights High School
Bay High School
David Cho
Victoria Schaefer
Hudson High School
Cuyahoga Falls High School
Katsuaki Arakawa
Leo Sherwood N
Solon High School
University School
Ania Lewis
Kate Young R
Gilmour Academy
Strongsville High School
Kamryn McCrory Cleveland School of the Arts
Kevin Tan Alice Wu
CELLO James Hettinga
Oberlin High School Solon High School
Kristen Nedza Solon High School
Mitchell Likovetz Hudson High School
ENGLISH HORN Amelia Johnson R Kate Young P
Lauren Hertzer Shaker Heights High School
Anna Burr Hudson High School
CLARINET Lauren Thomas
Anna Goldberg Laurel School
Kenston High School
Jennifer Vandenberg N
BASS Jamie Park
Chardon High School
PRINCIPAL Beachwood Middle School
Peter Varga R
Jacob Kaminski
Katherine Wang P
Solon High School Hathaway Brown School
ASSISTANT PRINCIPAL Mentor High School
Grace Cumberlidge Hudson High School
Evan Rowland-Seymour
BASS CLARINET Jennifer Vandenberg P Katherine Wang R
University School
Maxwell Moses Elyria High School
Jacqueline Marshall Laurel School
Mark Yost Mentor High School
BASSOON David Coy N, R Mentor High School
Jonathan Leopold P Midview High School
Emily Schrembeck Lake High School
HARP Lauren Jensen R Bay High School
Natalie Man P **
6
Youth Orchestra
Gabriel Zechman Manchester High School
CONTRABASSOON David Coy P Gabriel Zechman R
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ALTO SAXOPHONE Emily Schrembeck P
TROMBONE Gautam Apte N, R
HORN Sophie Calabrese P
Derek Gullet P
Shaker Heights High School Lake High School
Shaker Heights High School
Nicolas Haynes Lexington High School
Eric Weaver Nordonia High School
TUBA Nicholas Withey
Lauren Jensen N Bay High School
Hannah Messenger Angeline Monitello R
**
Gilmore Academy
Alex Yonek Brunswick High School
TRUMPET Steven Cozzuli P Northwestern High School
Xan Denker N
Southeast High School
TIMPANI Catharine Baek R Willoughby South High School
Sydney Gembka P West Geauga High School
Jason Gugick N Mayfield High School
Twinsburg High School
PERCUSSION Catharine Baek Jason Gugick Ian Marr Shaker Heights High School
Eric Metzger Medina High School
KEYBOARD Wending Wu Hudson High School
MANAGER Lauren Generette LIBRARIAN Austin Land
**
= extra/substitute musician
Performers are listed alphabetically within each woodwind, brass, and percussion section.
PRINCIPAL PLAYERS N = Beethoven R = Barber P = Prokofiev
Charlie Jones Cuyahoga Valley Christian Academy
Jacob Wokojance R Barberton High School
CORNET Charlie Jones N, P
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.
SEVERANCE HALL
Youth Orchestra
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 216-231-8006.
7
CLEVELAND ORCHESTRA
Youth Orchestra .
P H OTO BY R O G E R MA S T R O I A N N I
V I N AY PA R A M E S WA R A N
T H E 2 017-1 8 S E A S O N marks the Cleve-
land Orchestra Youth Orchestra’s 32nd season and the first year under the direction of Vinay Parameswaran. 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
8
M U S I C D I R E C TO R
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
SEVERANCE HALL
China, 2015
Music Directors of the
Cleveland Orchestra YOUTH ORCHESTRA Jahja Ling 1986-1993
Gareth Morrell 1993-1998 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
2 0 17 - 1 8 S E A S O N
Steven Smith 1998-2003
James Gaffigan 2003-2006
Jayce Ogren 2006-2009
James Feddeck 2009-2013
Brett Mitchell 2013-2017
Vinay Parameswaran from 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
9
Hugh A. Glauser School of Music
ORCHESTRAL STUDY at KENT STATE Our highly skilled and dedicated teaching faculty are consumate performers, appearing with groups such as The Cleveland Orchestra*, Erie Philharmonic, Miami String Quartet, Blue Water Chamber Orchestra and more. Home of the Kent/Blossom Music Festival.
FACULTY
DEGREES
Strings
Bachelor of Music (B.M.) Bachelor of Arts (B.A.) Master of Music (M.M.) Doctorate of Philosophy (Ph.D.)
Jung-Min Amy Lee, violin* Cathy Meng Robinson, violin Joanna Patterson Zakany, viola* Keith Robinson, cello Mark Atherton, double bass* Bryan Thomas, double bass
Woodwinds Diane McCloskey Rechner, flute Danna Sundet, oboe Amitai Vardi, clarinet Mark Demio, bassoon Noa Even saxophone
Brass
Dr. Jungho Kim Director of Orchestra
Kent Larmee, horn Michael Chunn, trumpet David Mitchell, trombone Ken Heinlein, tuba
Percussion Matthew Holm
Programs of Study Music Education (B.M., M.M., Ph.D.) Performance (B.M., M.M.) Chamber Music (M.M.) Music (B.A.)
AUDITIONS Dr. Jesse Leyva jleyva@kent.edu | 330-672-2172
WWW.KENT.EDU/MUSIC
Vinay Parameswaran 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 Assistant Conductor Elizabeth Ring and William Gwinn Mather Endowed Chair The Cleveland Orchestra
T H E 2 0 1 7 - 1 8 S E A S O N marks
Vinay Parameswaran’s first 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.
Mr. Parameswaran comes to Cleveland following three seasons as associate conductor of the Nashville Symphony (2014-2017), where he led over 150 performances. In the summer of 2017, he was a Conducting Fellow at the Tanglewood Music Center. During the 2016-17 season, Mr. Parameswaran made his guest conducting debuts with the Rochester Philharmonic and the Tucson Symphony, and also made his subscription debut with the Nashville Symphony conducting works by Gabriella Smith, Grieg, and Prokofiev. Other recent engagements have included debuts with the National Symphony Orchestra, Milwaukee Symphony, Jacksonville Symphony, Eugene Symphony, and the Vermont Symphony Orchestra. In addition to his concert work, Mr. Parameswaran has led performances of Mozart’s The Magic Flute and Donizet-
2 0 17 - 1 8 S E A S O N
ti’s The Elixir of Love with Curtis Opera Theater. He also assisted with Opera Philadelphia’s presentation of Verdi’s Nabucco. Mr. Parameswaran has participated in conducting masterclasses with David Zinman at the National Arts Centre Orchestra in Ottawa, as well as with Marin Alsop and Gustav Meier at the Cabrillo Festival of Contemporary Music. He is the conductor on the album Two x Four featuring the Curtis 20/21 ensemble alongside violinists Jaime Laredo and Jennifer Koh, featuring works by Bach, David Ludwig, Philip Glass, and Anna Clyne. A native of the San Francisco Bay Area, Mr. Parameswaran played as a student for six years in the San Francisco Symphony Youth Orchestra. He holds a bachelor of arts degree in music and political science from Brown University. At Brown, he began his conducting studies with Paul Phillips. He received a diploma from the Curtis Institute of Music, where he studied with OttoWerner Mueller as the Albert M. Greenfield Fellow.
Youth Orchestra: Music Director
11
WHERE ARTISTRY + INNOVATION SHARE CENTER STAGE music.cmu.edu | Application Deadline: December 1
Leonore Overture No. 3 by Ludwig van Beethoven composed 1806, for a new production of his opera Fidelio
A
C R O S S H I S L I F E T I M E , Beethoven wrote a
series of overtures, some as concert works, others for his only opera or attached to incidental music for several dramatic stageworks. All of them are serious in subject matter. Most of them are related to Beethoven’s lifelong belief in the ultimate goodness of humanity. Ludwig van His earliest overture, from 1801, was part of BEETHOVEN a ballet score, titled The Creatures of Prometheus. born December 16, 17 770 The stage drama’s storyline was directly related to Bonn, Germany Beethoven’s beliefs, of a hero (the demi-god Prodied March 26, 1827 metheus) who defies his own kind (the gods) to help Vienna humanity. It is, in fact, a philosophical outlook — of a hero fighting for humanity — that The Cleveland Orchestra’s music director, Franz Welser-Möst, believes was central to Beethoven and is embedded in much of his music. Music isn’t just something to be pretty, or interesting, or amusing, or relaxing. Music can be a call to arms, intellectually if not physically and spiritually. The Cleveland Orchestra and Franz close the 2017-18 Season at Severance Hall with a two-week festival of Beethoven’s music titled “The Prometheus Project.” This opening Youth Orchestra concert anticipates that series of concerts with tonight’s performance of the triumphant Leonore Overture No. 3. Beethoven wrote only one opera, spending several difficult and challenging years creating it, revising it, and frustratingly trying to perfect it. Fidelio is about a man wrongfully imprisoned, who is saved through the clever and daring efforts of his faithful wife, Leonore. The subject b matter was close to Beethoven’s heart. The stage action clearly mirrors his belief in freedom from political oppression and the boundless power of human love — as well as his belief (and supreme ability) to give musical voice to ideals of freedom, heroism, and the eternal striving of humanity for good. “Fighting for good” was not just a riveting storyline for Beethoven, he believed in it as integral to his life’s work as an artist. In the course of writing, producing, and revising the opera, Beethoven wrote three versions of an overture for it, all now known as the “Leonore” overtures. (Beethoven had, in fact, wanted to call the opera Leonore, but was dissuaded from doing so in order to avoid confusion with an already existing opera by that same name.) Although the three were numbered upon publication, for many years, what order Beethoven had really written these three related overtures was hotly argued and contested. Chemical testing of the manuscript papers in the 20th century, however, solved that long-lasting riddle, telling us that his creativity had actually written them 2-3-1. Thus, “No. 2” was first in 1805, and from this he expanded the musical ideas into “No. 3” the next year, only to narrow the writing again for “No. 1” three
2 0 17 - 1 8 S E A S O N
About the Music
13
years later. Ultimately, however, Beethoven rejected them all. In performance, he came to understand that each of his “Leonore” Overtures was too big — that each so fully encapsulated the action (and emotional journey) of the opera into music that experiencing the opera itself became superfluous. In 1814, he wrote the much briefer and expectant Overture to Fidelio, which sets just the right mood, leaving the three “Leonore” Overtures as perfect and big-hearted material for symphonic concerts. (The once common practice of performing “Leonore” No. 3 in opera productions between the two scenes of 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, followed by a feeling of anti-climax — the dramatic acting out of the opera onstage.) Leonore No. 3 is the most-often performed, and the most fully developed, but all three follow a similar outline and deploys some of the same musical material. Beethoven begins with a repeated grand gesture of chords and ominous music, which gives way to a second 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 announces the governor’s arrival to grant pardons in the opera itself — leading on to closing music of great fanfare and rejoicing, of the triumph of good people over evil intentions. Performance Time: 15 minutes
WADE OVAL WINTER
HOLIDAY CIRCLEFEST PHOTO CO O URTESY O F DOWNIE PHOTOGRAPHY
HOLIDAY CIRCLEFEST SATURDAY, DECEMBER 2 • Noon-5pm • Shop for everyone on your list at the Holiday Market • Enjoy a taste of Cleveland with food and beverages crafted by Table 45 • Ice skating, music, and Santa on The Rink at Wade Oval • Horse & carriage rides and ice carving demonstrations PROUDLY SPONSORED BY
SUNDAY, DECEMBER 3 • 1-7pm • Visit many of University Circle’s museums, churches, schools, and cultural institutions for FREE (1-5:30 p.m.) • Shop for everyone on your list at the Holiday Market • Enjoy a taste of Cleveland with food and beverages crafted by Table 45 • Ice skating, music, and Santa on The Rink at Wade Oval • Horse & carriage rides and ice carving demonstrations • Cleveland Museum of Art’s Winter Lights Lantern Procession • Wade Oval Lighting, presented by Quake Energy
PROUDLY SPONSORED BY
Visit universitycircle.org for a full schedule and details.
14
About the Music
SEVERANCE HALL
Youth Orchestra Coaching Staff These members of The Cleveland Orchestra are serving g as coaches for the Cleveland Orchestra Youth Orchestra. VIOLIN William Preucil Concertmaster
Peter Otto First Associate Concertmaster
Emilio Llinas Assistant Principal Second Violin
WOODWIND Marisela Sager Assistant Principal Flute
Saeran St. Christopher Flute
Frank Rosenwein Principal Oboe
Kathleen Collins
Jeffrey Rathbun
VIOLA Lynne Ramsey
Robert Woolfrey
Assistant Principal Oboe
First Assistant Principal
Stanley Konopka Assistant Principal
CELLO Richard Weiss First Assistant Principal
David Alan Harrell Tanya Ell BASS Mark Atherton Charles Carleton
Clarinet
Jonathan Sherwin Bassoon / Contrabassoon
BRASS Hans Clebsch Horn
Lyle Steelman Assistant Principal Trumpet
Michael Miller Trumpet
Shachar Israel Assistant Principal Trombone
Yasuhito Sugiyama Principal Tuba
HARP Trina Struble Principal
KEYBOARD Joela Jones Principal
EMERITUS COACHES Yoko Moore V LIN EMERITU VIO TUS
Martin Flowerman BASS EMERITU TUS
John Rautenberg FLUTE EMERITU TUS
Phillip Austin
BASSOON EMERITU TUS
James DeSano
TROMBONE EMERITU TUS
Richard Weiner
PERCUSSION U EMERITU TUS
With Special Thanks To Robert O’Brien LIBRA R RIA I N
PERCUSSION Thomas Sherwood Percussion
THE CLEVELAND ORCHESTRA Franz Welser-Möstt , Musicc Director Richard K. Smucker, r Presid dent André Gremillet, Exxecutivve Director
2O1 7-18
CENTENNIAL SEASON
Education and C omm m unity Programs Joan Katz Napoli, Senior Director Sandra Jones, Man nager, Education and Family Concerts Mollibeth Cox, Man nager, Community and d Learniing Programs Sarah Lamb, Coord dinator, Education and Commu unity Programs Austin Land, Artistiic/Operrations Coordinator, Youth Orcheestra and Education Programs Cleveland Orchestra a Youth Orchestra Vinay Parameswaran, Mu usic Director Lauren Generette, Manag ger
2 0 17 - 1 8 S E A S O N
Appreciation
15
I was meant to be a composer and I’m sure I will be. Don’t ask me to try to forget this unpleasant thing and go play football. Please. —Samuel Barber
Symphony No. 1 by Samuel Barber composed 1934-35
B
Y THE TIME
he graduated from the Curtis Institute in Philadelphia, Samuel Barber’s reputation had spread far beyond the school walls. Some of his earliest works were broadcast on radio all over the United States, and he received prestigious awards including a Pulitzer Scholarship and the Rome Prize, which allowed him to spend an extended period of time in Samuel Europe. When he started work on his first symphony, BARBER the 25-year-old composer was confident that new work would not be neglected. After all, his first orchestral born March 9, 1910 West Chester, Pennsylvania work, the Overture to The School for Scandal, had received a prize in 1933 and his second, Music for a Scene died January 23, 1981 from Shelley, was heard at Carnegie Hall in March 1935. New York City Barber left for Europe in the fall of 1935 for a year’s stay at the American Academy of Rome. He had begun work on the symphony before his departure but did the most of the writing in Europe. Within a year of its completion, the symphony had been performed both in Italy and in the United States. (The American premiere took place in Cleveland, performed by The Cleveland Orchestra in 1937.) Barber wrote the following description of his symphony: “The form of my ‘Symphony in One Movement’ is a synthetic treatment of the four-movement classical symphony. It is based on the three themes of the initial section marked Allegro ma non troppo, which retain throughout the work their fundamental character. The Allegro ma non troppo opens with the usual exposition of a main theme, a more lyrical second theme, and a closing theme. After a brief development of the three themes, instead of the customary recapitulation, the first theme in diminution forms the basis of a scherzo section (marked Vivace). The second theme (oboe over muted strings) then appears in augmentation, in an extended Andante tranquillo. An intense crescendo introduces the finale section, which is a short passacaglia based on the first theme (introduced by the violoncelli and contrabassi), over which, together with figures from other themes, the closing theme is woven, thus serving as a recapitulation for the entire symphony. As Barber transformed and recombined his themes to adapt them to the requirements of a traditional symphony’s slow movement, scherzo, and finale, he also changed their emotional aspect in significant ways. The same theme that sounds full of dramatic pathos at the beginning of the symphony becomes playful in the scherzo and solemnly festive when it turns into a passacaglia bass (a “passacaglia” is an unchanging bass line over which elaborate variations are introduced). The idea of telescoping the four movements of a longer work into one was not in itself new. Sibelius’s Seventh Symphony (1921), which served as Barber’s immediate model, was only the most recent of several examples, going back all the way to Schubert’s Wanderer Fantasy (1822), in which the opening motif was turned into a scherzo and later
2 0 17 - 1 8 S E A S O N
About the Music
17
a fugue. But Barber’s very personal melodic writing sets him apart from everyone else. He uses traditional harmonies in a non-traditional way, freely moving from key to key as he pleases. In his orchestration, solos or small instrumental groups alternate with massive tutti [“all together” or “as a group”] passages to wonderful effect, enhancing the contrasts between the various sections of the work. The mood of the symphony is in turn lyrical, humorous, excited, and meditative. The many memorable episodes include two virtuoso passages, for three flutes and three trumpets respectively, in the scherzo, and a great oboe solo in the slow section. Yet the most startling moment occurs at the very end, where some passionate E-minor chords are placed side by side with harsh dissonances, concluding the work in a grand tragic manner. After the First Symphony, Barber wrote only one more symphony, which had an interesting history. Having joined the Army during World War II, the composer was commissioned to write a symphony in honor of the Air Force. The symphony was written, performed by the Boston Symphony Orchestra, and then extensively revised a few years later. Yet Barber remained dissatisfied with his wartime effort. He eventually separated the slow movement and published it as a work titled Night Flight — later detroying the rest of the symphony. One set of parts, however, was later rediscovered, allowing the entire work to be performed again and recorded. Performance Time: 20 minutes
CONTACT INFORMATION music.depauw.edu 765-658-4118 georgepalton@depauw.edu
School of Music 18
About the Music
2018 AUDITION WEEKENDS February 16-17 March 4-5 Auditions also available by appointment
SEVERANCE HALL
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 Jinjoo Cho Vladimir Deninzon* Wei-Fang Gu* Rachel Huch Liesl Langmack Yoko Moore** Eugenia Poustyrena William Preucil* Erin Reidhead Jeanne Preucil Rose* Stephen Rose* Barber Samuel Rotberg Carol Ruzicka Stephen Sims Cory Smith Isabel Trautwein* Cara Tweed Wei-Shu Wang Co Ivan Ženatý
BASS TEACHERS Ann Gilbert Tracy Rowell Bryan Thomas Chris Vance
TRUMPET TEACHERS John English Ken Holzworth Michael Miller* Loren Toplitz
FLUTE TEACHERS Linda Miller Angie Ro Saeran St. Christopher* Rae Yeager
TROMBONE TEACHERS James Albrecht Jason Hadgis Jason Smith
VIOLA TEACHERS Lisa Boyko* Jeffrey Irvine Eva Kennedy Laura Shuster Ann Smith Louise Zeitlin
BASSOON TEACHERS Renee Dee Mark DeMio Andrew Machamer
CELLO TEACHERS Chauncey Aceret Martha Baldwin* Rachel Bernstein Nick Diodore David Alan Harrell* Pamela Kelly Andris Koh Mark Kosower* Melissa Kraut Daniel Pereira Richard Weiss*
OBOE TEACHERS Jeffrey Rathbun* Danna Sundet Cynthia Watson Craig Wohlschlager CLARINET TEACHERS Jenny Magistrelli Tracy Peroubek Thomas Tweedle Amitai Vardi
HORN TEACHERS Hans Clebsch* Meghan Guegold Melinda Kellerstrass Van Parker
TUBA TEACHERS Yasuhito Sugiyama* PERCUSSION TEACHERS Ryun Louie Thomas Sherwood* Brian Sweigart Luke Rinderknecht HARP TEACHERS Xiao Lei Salovara KEYBOARD TEACHERS Nancy Bachus
* Member of The Cleveland Orchestra ** Retired member of The Cleveland Orchestra
The Cleveland Orchestra is grateful to the following organizations for their ongoing generous support of the 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 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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In my view, the composer, just as the poet, the sculptor, or the painter, is duty bound to serve humanity. He must beautify life and defend it. He must be a citizen first and foremost, so that his art can consciously extol human life. —Sergei Prokofiev
Suite from Romeo and Juliet, Opus 64 by 6HUJHL 3URNRÀHY from the composer’s suites, drawn from the ballet’s original score composed 1934-35
A
F T E R F I F T E E N Y E A R S away from Russia, spent
mostly in France and the United States, Prokofiev felt a complicated urge in the mid-1930s to return to his homeland. Just how much he really understood the Soviet system that had replaced the Russian monarchy he had grown up in is a vexed question, for even if he knew that the liberal attitude to the arts that characterSergei ized the early years after the Revolution was no longer PROKOFIEV apparent, he could not be blamed for failing to foresee the full extent that Stalin’s dictatorship had become reborn April 23, 1891 Sontsovka, Ukraine pressive and brutal. By 1936, when Prokofiev’s family finally settled in Moscow, the signs of harsh times ahead died March 5, 1953 Moscow were clear, but in 1933 he was accepting commissions from his homeland and paying more frequent visits there with good prospects of productive years ahead. The Kirov Theater in Leningrad wanted a new ballet from Prokofiev, recognizing his gifts as a ballet composer already evident in The Steel Step, The Prodigal Son, and On the Dnieper,r all successfully premiered in Paris. Prokofiev suggested Romeo and Juliett as the new ballet’s storyline. The Kirov was unhappy with the idea or details surrounding it, so Prokofiev signed a contract with Moscow’s Bolshoi Theater instead. Moscow too had some difficulties with details, however, thinking it improbable that the dying lovers could plausibly be seen dancing at the ballet’s conclusion. A happy ending was the first solution, and with this unlikely dénouement the score was completed in the summer of 1935. However, it was rejected by the Moscow theater as “unsuitable” for dancing. With no immediate prospect of a staged performance, Prokofiev revised the whole work and made two orchestral suites from the 52 shorter numbers that made up the ballet as a whole. Each suite included seven movements. He also arranged ten pieces for piano. The ballet was staged for the first time in Brno, Czechoslovakia, in December 1938, and then subsequently danced at the Kirov Theater in January 1940. Prokofiev made a third suite, with six movements, in 1946. Despite the challenges surrounding its birth, Prokofiev’s Romeo and Juliett ultimately became a triumph around the world, challenging dancers and choreographers in its storytelling, but with great passion and melody carrying its music forward, and justly capturing the dramatic tragedy as it unfolds. As a suite (or complete score) in the concert hall, or danced onstage, it has become one of Prokofiev’s signature scores. THE MUSIC
For this week’s concerts, conductor Vinay Parameswaran has chosen a selection of movements from the ballet, drawing from all three suites and roughly following much 2 0 17 - 1 8 S E A S O N
About the Music
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of the action of the drama. First, we are introduced to the two feuding families, the Montagues and Capulets. They are swaggering, proud knights, as the tremendous power of the violins’ melody reveals. The ladies are represented in a gentler passage. Juliet converses or dances with her cousin Paris. Romeo is entranced, looking on. The Morning Dance is from early in the ballet, setting the scene of street life in Verona. There is no hint of conflict or tragedy here. We take a closer look at the heroine in the movement Juliet, the Young Girl. Here she is a mischievous young woman, teasing and obstructing her faithful nurse. She has a tender side, as we learn from a clarinet solo presenting one of her motifs. Another of her melodies appears on the flute, soon joined by the tenor saxophone. The Minuet accompanies the arrival of the guests at the Capulets’ ball. The music is pompous and solid, with a solo for the cornet, yet it comes to a delicate ending. Masks conceal the identity of Romeo, Mercutio, and Benvolio, all Montagues who have come uninvited to a ball hosted by Capulets. The percussion set up a solid rhythm for the violins’ tune, interrupted briefly by cornet and timpani, mocking their fellow guests. Romeo and Juliet is the movement that closes the first act of the ballet, representing the famous balcony scene. Juliet is alone, then suddenly alerted to Romeo’s presence (flute). Romeo’s declaration of love (cellos and english horn) has a certain stateliness, not the torrid rapture that one might expect, but always expressed as movement and gesture. Night falls, and we are left recalling Juliet’s lines: How silver-sweet sound lovers’ tongues by night, Like softest music to attending ears! The Death of Tybalt starts at the point in Act Two when Tybalt kills Mercutio in a street brawl. They fence furiously (but elegantly). The fatal thrust is sudden, Mercutio’s death prolonged, and Romeo’s fury undisguised (storming violins). When he draws on Tybalt, the music drives headlong to the moment when Tybalt falls, accompanied by fifteen heavy blows from the lower instruments. With great solemnity, Tybalt’s body is carried out and the curtain falls. The music now skips ahead toward the end. Juliet has taken Friar Lawrence’s potion, which gives the impression that she is dead. Romeo discovers her “corpse” in the Capulets’ vault, believes she is dead, and takes poison to kill himself. Juliet almost immediately awakes to find the corpse of Romeo beside her. For Juliet’s Death, her theme comes to the fore, calmly and with dignity unfolding twice, after which she stabs herself with Romeo’s dagger. A solo violin echoes her theme once more, then again the full strings. The music fades to a plain, tragic, C major chord. Performance Time: 30 minutes
PROGRA R M NOTES BY ERIC SELL E EN N, HUGH MACD M ONALD N D, AND PETER LAKI K © 2017.
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About the Music
SEVERANCE HALL
School Music Teachers The members of the Cleveland Orchestra Youth Orchestra express gratitude to their school music directors for the role they play on a daily basis in developing musical skills. Celeste Wagner, Barberton High School Darren Allen, Bay High School Lisa Goldman, Beachwood Middle School Jay Wardeska, Brunswick High School Lara Dudack, Central Christian School Melissa Lichtler, Chardon High School Brett Baker & Daniel Heim, Cleveland Heights High School Dianna Richardson, Cleveland School of the Arts Michael Foster, Copley High School Dustin Harris, Cuyahoga Falls High School Scott Isaacs, Cuyahoga Valley Christian Academy Michelle Adair, Dublin Jerome High School David Pope, Elyria High School David Kilkenney, Gilmour Academy Linda Simon-Mietus, Hathaway Brown School Sergio Castellanos & Liesl Langmack, Hawken School Roberto Iriarte, Hudson High School Jeffery Link, Kenston High School Jared Cooey & Arleen Scott, Lake High School Anthony Gault, Laurel School Zakary Wilkins, Lexington High School Michelle Bagwell, Manchester High School Bradley Treiber, Mayfield High School Jason Locher & Shelly Jansen, Medina High School Stephen Poremba & Matthew Yoke, Mentor High School Josh Brunger, Midview High School Alfredo Guerrieri, Montessori High School Tom Weaver, Nordonia High School Ralph Negro, Northwestern High School Audrey Melzer, Oberlin High School Jeremy England, Ohio Virtual Academy Mark Wozniak, Padua Franciscan High School Darren LeBeau, Revere High School William Hughes & Donna Jelen, Shaker Heights Middle and High Schools Gerald MacDougall, Solon High School Fred Primavera, South High School Joni Stoll, Southeast High School Andrew Hire, Strongsville High School Ryan Bonitz & Damon Conn, Twinsburg High School Michael Leone, Daniel Singer, & Katharine Willow-Petersen, University School Jason Branch, West Geauga High School Hilary Patriok, Westlake High School
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Your Role . . . in The Cleveland Orchestra’s Future Generations of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its education programs, celebrated important events with its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, downtown at Public Square, on the radio, and with family and friends. As Ohio’s most visible international ambassador, The Cleveland Orchestra proudly carries the name of our great city everywhere we go. Here at home, we are committed to serving all of Northeast Ohio with vital education and community programs, presented alongside wide-ranging and inspiring musical performances. Ticket sales cover less than half the cost of presenting the Orchestra’s season each year. By making a donation, you can make a crucial difference in helping to ensure our work going forward. To make a gift to The Cleveland Orchestra, please visit us online, or call 216-231-7562.
clevelandorchestra.com
11001 Euclid Avenue, Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM
LATE SEATING As a courtesy to the audience members and musicians in the hall, late-arriving patrons are DVNHG WR ZDLW TXLHWO\ XQWLO WKH ÀUVW FRQYHQLHQW 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 Cleveland Orchestra, 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
SEVERANCE HALL
Severance Hall
PHOTOGRAPHY, VIDEOGRAPHY, AND RECORDING Audio recording, photography, and videography are prohibited during performances at Severance +DOO 3KRWRJUDSKV RI WKH KDOO DQG VHOÀHV FDQ EH 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 ageDSSURSULDWH VHULHV GHVLJQHG VSHFLÀFDOO\ 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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It’s time for a new identity. One that tells the story of creativity in Ohio and illustrates it.
Expression is an essential need. By better illustrating our story, we can better help you express yours.
Complete the story at oac.ohio.gov/identity.
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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.
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BELIEVE IN YOUR NEXT NOTE... WE DO. CONSERVATORY of MUSIC Study with the best. From faculty who are artists and scholars committed to your success.
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