Cleveland Orchestra Youth Orchestra

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

CLEVELAND ORCHESTRA

Youth Chorus .

DA N I E L S I N G E R

D I R E C TO R

February 25, 2O18 Severance Hall

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OBERLIN CONSERVATORY OF MUSIC CELEBRATING TRADITION. CREATING THE FUTURE.

Your musicianship and technical command are your calling card. In Oberlin’s experimental haven, you begin to craft that artistic identity.

They envision the sounds of tomorrow.

Oberlin Conservatory of Music 39 West College Street, Oberlin, OH 44074 440-775-8413 | www.oberlin.edu/con

YEVHEN GULENKO

Oberlin students are mentored and challenged.

They grow comfortable with risk. They perform with ensembles small and large, with guest artists and peers, in recording studios and in concert halls, on stage and on tour, playing music by the masters and composers from our time.

Prelude Concert

Cleveland Orchestra Youth Orchestra / Youth Chorus

Sunday evening, February 25, 2018, at 6:00 P.M. in Severance Hall's Concert Hall Prior to each Cleveland Orchestra Youth Orchestra concert at Severance Hall, a special Prelude Concert takes place featuring 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.

Today's Prelude also features the Cleveland Orchestra Youth Chorus Chamber Ensemble, a select group chosen from the larger choir and given special training and performance opportunities.

Members of the Cleveland Orchestra Youth Orchestra T YLMAN SUSATO (ca. 1510 -ca. 1572)

Renaissance Dances edited and arranged byy John Iveson

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2.

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La Mourisque Bransle Quatre Bransles Ronde Ronde — Mon Amy Basse Danse Bergeret Charlie Jones, trumpet Xan Denker, trumpet Lauren Jensen, horn Derek Gullet, trombone Shachar Israel, bass trombone*

Cleveland Orchestra Youth Chorus Chamber Ensemble (participating members are notated in the roster listing on page 13) THOMAS MORLEY (ca. 1557-1602)

Sing We and Chant It WOLFGANG AMADÈ MOZART (1756-1791)

Ave Verum Corpus conducted byy Adam Landry, acting assistant director with Jacob Bernhardt, piano

SEVERANCE HALL

Prelude Concert

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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 last season . . .

COYO has performed the world premieres of

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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

CLEVELAND ORCHESTRA

Youth Orchestra .

Youth Chorus .

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

DA N I E L S I N G E R

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Sunday evening, February 25, 2018, at 7:00 P.M. Severance Hall — Cleveland, Ohio Vinay Parameswaran, conductor JEAN SIBELIUS

(1865-1957)

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Symphony No. 1 in E minor, Opus 39 1.

2.

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Andante, ma non troppo — Allegro energico Andante (ma non troppo lento) Scherzo: Allegro — Lento (ma non troppo) — Tempo 1 Finale (Quasi una Fantasia): Andante — Allegro molto

INTERMISSION HOWARD HANSON

(1896-1981)

ANTONÍN DVOŘÁK

(1841-1904)

Song of Democracy, Opus 44 (for chorus and orchestra)

Te Deum, Opus 103 (for soloists, chorus, and orchestra) 1.

2.

3.

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Te Deum laudamus: Allegro moderato maestoso Tu Rex gloriae: Lento maestoso Aeterna fac cum Sanctis: Vivace Dignare Domine: Lento

MARIAN VOGEL, soprano BRIAN KEITH JOHNSON, baritone

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, May 27, at 4:00 p.m. and on Saturday, September 15, at 8:00 p.m.

SEVERANCE HALL

Concert Program

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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

FIRST VIOLIN Célina Béthoux

Kevin Tan

CONCERTMASTER Home schooled

Sofia Ayres-Aronson

Masayoshi Arakawa

Strongsville High School Shaker Heights High School

ASSISTANT CONCERTMASTER Solon High School

Owen Lockwood

Wenlan Jackson

Samantha Ma

Shaker Heights High School

Annika Bowers Home schooled

Christine Shih Dublin Jerome High School

Ayano Nakamura Hudson High School

Uzo Ahn University School

Moshi Tang Hawken School

Katya Schane Oberlin High School

Elizabeth Huang Shaker Heights Middle School

Maria Zou Hudson High School

Shaker Heights High School Revere Middle School

Erika Lee Strongsville High School

Alexandra Xuan Lake High School

Brice Bai Hathaway Brown School

Claire Schmeller Medina High School

Tae-Hee Kim Hathaway Brown School

Moonhee Kim Beachwood Middle School

Richard Jiang Solon High School

Maya Schane Oberlin High School

Claudia Hamilton Hawken School

Cole Hoff Westlake High School

Lea Kim Solon High School

Kevin Du Hudson High School

SECOND VIOLIN Julia Schilz PRINCIPAL Hathaway Brown School

VIOLA Mikel Rollet PRINCIPAL Montessori High School

Claire Peyrebrune ASSISTANT PRINCIPAL The Lyceum

Sam Rosenthal Shaker Heights High School

Natalie Brennecke Home schooled

Hannah Lindvall

Sandy Shen

ASSISTANT PRINCIPAL Ohio Virtual Academy

Adam Warner

Andrew Smeader Padua Franciscan High School

Kaylee Bontrager Home schooled / Central Christian School

Solon High School Cleveland School of the Arts

Charlotte Lo Shaker Heights High School

Kristen Nedza Solon High School

Ginger Deppman Oberlin High School

Mitchell Likovetz Hudson High School

CELLO Matthew Fields

FLUTE Krysta-Marie Aulak D

PRINCIPAL Cleveland Heights High School

Kara Li H

James Hettinga

Jason Suh S

Shaker Heights High School Copley High School

ASSISTANT PRINCIPAL Home schooled

Shaker Heights High School

Lily Waugh

Rachelle Larivee

Cleveland Heights High School

Hudson High School

Katsuaki Arakawa

PICCOLO Krysta-Marie Aulak S Jason Suh S Lily Waugh H

Solon High School

Zachary Keum University School

Anna Burr Hudson High School

OBOE Amelia Johnson H

David Cho Hudson High School

Faith Geho

Bay High School

Twinsburg High School

Victoria Schaefer

Katarina Davies

Cuyahoga Falls High School

Home schooled

Leo Sherwood D

Lauren Hertzer

University School

Shaker Heights High School

Kate Young S

Theodora Bowne

Strongsville High School

Shaker Heights High School

ENGLISH HORN Kate Young H, D

Ania Lewis Gilmour Academy

Kamryn McCrory Cleveland School of the Arts

CLARINET Lauren Thomas

Anna Goldberg Laurel School

Kenston High School

Jennifer Vandenberg H

BASS Jamie Park

Chardon High School

Peter Varga S

PRINCIPAL Beachwood Middle School

Solon High School

Katherine Wang D

Jacob Kaminski

Hathaway Brown School

ASSISTANT PRINCIPAL Mentor High School

BASSOON David Coy S

Grace Cumberlidge Hudson High School

Mentor High School

Maxwell Moses

Jonathan Leopold D

Elyria High School

Midview High School

Jacqueline Marshall

Emily Schrembeck H

Laurel School

Lake High School

Mark Yost

Gabriel Zechman

Mentor High School

Evan Rowland-Seymour

Manchester High School

University School

Patrick Raynard ** Isaiah Ward **

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Youth Orchestra

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HORN Sophie Calabrese S Shaker Heights High School

Nicolas Haynes D Lexington High School

Lauren Jensen Bay High School

Hannah Messenger ** Angeline Monitello H Gilmore Academy

Alex Yonek Brunswick High School

TRUMPET Steven Cozzuli H Northwestern High School

Xan Denker D Twinsburg High School

Charlie Jones S Cuyahoga Valley Christian Academy

TROMBONE Gautam Apte S Shaker Heights High School

Derek Gullet H, D Lake High School

Eric Weaver Nordonia High School

TUBA Nicholas Withey Southeast High School

TIMPANI Catharine Baek S Willoughby South High School

Sydney Gembka H West Geauga High School

Ian Marr D Shaker Heights High School

Jacob Wokojance

PERCUSSION Catharine Baek Sydney Gembka Jason Gugick Ian Marr Eric Metzger Medina High School

KEYBOARD Wending Wu Hudson High School

HARP Lauren Jensen Bay High School

Natalie Mann **

MANAGER Lauren Generette LIBRARIAN Austin Land

**

= extra/substitute musician

Performers are listed alphabetically within each woodwind, brass, and percussion section.

PRINCIPAL PLAYERS S = Sibelius H = Hanson D = Dvořák

Barberton 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.

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.

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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

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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. 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 to Boston for a series of four performances. The ensemble’s recent schedule has included performances at the Ohio

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 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 come from forty communities in a dozen counties throughout Northeast Ohio to rehearse together each week in Severance Hall. The Youth Orchestra season runs from August through May and includes a threeconcert subscription series at Severance Hall, with concert broadcasts on Cleveland’s classical music station WCLV (www.wclv.org).

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Steven Smith 1998-2003

James Gaffigan 2003-2006

Jayce Ogren 2006-2009

James Feddeck 2009-2013

Brett Mitchell 2013-2017

Vinay Parameswaran from 2017

AUDITIONS for the Cleveland Orchestra Youth Orchestra’s 2018-19 Season will take place in May. Audition requirements and applications are available at www.clevelandorchestrayouthorchestra.com. Auditions are open to middle and high school-aged instrumentalists. Application deadline is Friday, March 30. Questions? Call 216-231-7352 or write to coyo@clevelandorchestra.com.

Cleveland Orchestra Youth Orchestra

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WHERE ARTISTRY + INNOVATION SHARE CENTER STAGE music.cmu.edu | Application Deadline: December 1

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-

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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

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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.

Mark Skladan, Amherst Steele High School Celeste Wagner, Barberton High School Darren Allen and Devon Gess, Bay High School Lisa Goldman, Beachwood Middle School Catherine Robison-Ranney, Berea-Midpark High School Emily Garlock, Brecksville-Broadview Heights High School Jay Wardeska, Brunswick High School Lara Dudack, Central Christian School Melissa Lichtler, Chardon High School Brett Baker and Daniel Heim, Cleveland Heights High School Dianna Richardson, Cleveland School of the Arts Michael Foster, Copley High School Kira Seaton, Cuyahoga Community College Dustin Harris, Cuyahoga Falls High School Scott Isaacs and Jennifer Moore, Cuyahoga Valley Christian Academy Dianna White-Gould, Dike School of the Arts Michelle Adair, Dublin Jerome High School David Pope, Elyria High School Chrissy Karliak, Fairview High School David Kilkenney, Gilmour Academy Linda Simon-Mietus and Laura Webster, Hathaway Brown School Liesl Langmack and Jodie Ricci, Hawken School Christopher Ilg and Emily Miller, Highland High School Roberto Iriarte, Hudson High School Gretchen Obrovac, Independence High School Julia Green and Jeffery Link, Kenston High School Suzanna Adkins, Kirtland High School Jared Cooey and Arleen Scott, Lake High School Todd Christopher, Lake Ridge Academy Peter Hampton, Lakewood High School Anthony Gault, Dini Karam, and Joel McDaniel, Laurel School

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Zakary Wilkins, Lexington High School Michelle Bagwell, Manchester High School Bradley Treiber, Mayfield High School Jason Locher and Shelly Jansen, Medina High School Adam Landry, Stephen Poremba, and Matthew Yoke, Mentor High School Josh Brunger, Midview High School Alfredo Guerrieri, Montessori High School Alissa Bodner, Newbury High School Tom Weaver, Nordonia High School Joe Mikolajczyk, North Royalton High School Ralph Negro, Northwestern High School Audrey Melzer, Oberlin High School Jeremy England, Ohio Virtual Academy Paula Snyder, Orange High School Mark Wozniak, Padua Franciscan High School Taylor Brown, Pymatuning Valley High School Darren LeBeau, Revere High School Kathleen Cooper, Saint Joseph Academy James Gomez, Saint Peregrine Academy Mario Clopton-Zymler, William Hughes, Donna Jelen, and Rebecca Sharp, Shaker Heights Middle and High Schools Gerald MacDougall, Solon High School Fred Primavera, South High School Joni Stoll, Southeast High School Vicki Eicher, Andrew Hire, Brian King, and Elena Taylor, Strongsville High School Ryan Bonitz and Damon Conn, Twinsburg High School Michael Leone, Daniel Singer, and Katharine Willow-Petersen, University School Jason Branch, West Geauga High School Jennifer Butler and Hilary Patriok, Westlake High School

Appreciation

SEVERANCE HALL

CLEVELAND ORCHESTRA

Youth Chorus .

DA N I E L S I N G E R

Jason Abbott Mentor High School

Sema Albulut Solon High School

David Banks Bay High School

Julie Beardslee Mentor High School

Leah Beardslee Mentor High School

Leah Benko Grace Christian Academy

Samuel R. Blocker * University School

Anna Buescher Chagrin Falls High School

Gregory Bullis Jr. * Newbury High School

Vondel Campbell Dike School of the Arts

Jonah Chapman-Sung Shaker Heights Middle

Hannah Cogar Lakewood High School

Olivia Christine Como * Kenston High School

Katelyne Crouch Pymatuning Valley High School

Sasha Desberg * Revere High School

Jade Domos * Aurora High School

Taniya Dsouza Gilmour Academy

Spencer Fortney Kirtland High School

Mariana Gomez * Saint Peregrine Academy

Lydia Greer Brecksville-Broadview Heights High School

D I R E C TO R

Ben Gwinnell *

Krish Malte

Lake Ridge Academy

Alyse Hancock-Phillips *

Gilmour Academy

Catherine Martin

Hawken School

Seth Hobi *

Laurel School Mentor High School

Eddie McLaughlin

University School

Cuyahoga Community College

Fisher Ilijasic * Shaker Heights High School

Eunice Min

Kenston High School

Grace Mino * Highland High School

Elizabeth Javorsky * Laurel School

Amelia Morra

Shaker Heights High School

Nathan Niedzwiecki * Homestead Lutheran Academy

Sohum Kapadia University School

Eleni Karnavas *

Antony Peng

Fairview High School

Twinsburg High School

Sara Phillips

Azalea Artemis Webster * Shaker Heights High School

Amherst Steele High School

Justin Prindle

Brooke Wightman Highland High School

Solon High School

Megan Qiang

Charles C. Williams IV Strongsville High School

Hathaway Brown

Victoria Rasnick

Garrett Wineberg * West Geauga High School

Strongsville High School

Hawken School

Jennifer Lutz

Saint Peregrine Academy

Amy Wang

Kira Weaver

Desha Perera

Strongsville High School

Bridget Lee

Highland High School

Julia Urankar

Strongsville High School

University School

Mentor High School

Rachel Kovatich

Cuyahoga Valley Christian Academy

Solon High School

Westlake High School

Grace Klingenberg

Jackson Slater

Ronell Warmuth *

Fairview Park High School

Aaron Kim

Kirtland High School

Emily Shields *

Berea-Midpark High School

Home schooled

Seth Ketchum

Lakewood High School

Eva Shepard *

Isabella O'Brien-Scheffer

Independence High School

Lydia Kee

Josh Shearer

Michael Stupecki *

Orange High School

Joe Kaffen *

Saint Joseph Academy

Audrie Ryan

Mentor High School

Shaker Heights High School

Sophia Irvin *

Hannah Rutkowski Mentor High School

Caitlin McCurdy

Ohio Virtual Academy

Adam Holthaus

Mentor High School

Annamarie Martin

Berea-Midpark High School

Zoe Hartz

Jenson Rowan

University School

Emma Violet Rosberil *

North Royalton High School

Grace Maicki Hawken School

Sarah Malarney

Saint Joseph Academy

* denotes member of the Chamber Chorus performing on the Prelude Concert (see page 3).

Laurel School

David Malkin University School

Sarah Grube * Shaker Heights High School

ACTING DIRECTOR Daniel Singer ACTING ASSISTANT DIRECTOR Adam Landry

The Cleveland Orchestra Youth Chorus is supported by the Edward and Ruth Wilkof Foundation.

ACCOMPANIST Jacob Bernhardt MANAGER OF YOUTH CHORUSES Julie Weiner

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Youth Chorus

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Directors of the

Cleveland Orchestra YOUTH CHORUS Gareth Morrell 1991-1998

Betsy Burleigh 1998-2006

Frank Bianchi 2006-2012

Lisa Wong T H E 2 0 1 7 - 1 8 S E A S O N marks the

Cleveland Orchestra Youth Chorus’s 27th season. The Youth Chorus was founded in the spring of 1991 to help raise awareness of choral music-making in the schools of Northeast Ohio and to encourage students to continue their choral singing activities through college and into adulthood. The Youth Chorus provides a unique opportunity for talented singers in grades nine through twelve to work together under professional guidance beyond their high school experience and to perform works from the standard choral-orchestral repertoire in collaboration with the Cleveland Orchestra Youth Orchestra.

The members of the Cleveland Orchestra Youth Chorus are selected through competitive auditions held each spring. This season, the members represent more than forty schools and communities from nine counties across Northeast Ohio. The Chorus participates in a half-dozen performances each season, including a joint concert at Severance Hall with the Cleveland Orchestra Youth Orchestra. The Youth Chorus made its debut at a Severance Hall concert in February 1992 singing Dvořák’s Te Deum with the Youth Orchestra.

In addition to performances at Severance Hall, the Youth Chorus’s activities include concerts and community engage-

14

2012-2017

Daniel Singer Acting Director, from 2017 ment programs in the greater Cleveland area. Ensemble singers also participate in workshops and masterclasses with noted choral directors and clinicians. In recent years, the Youth Chorus has collaborated in performance with The Cleveland Orchestra, Cleveland Orchestra Chorus, Baldwin Wallace Men’s Chorus, and the Cleveland State Chorale. The Youth Chorus has appeared in concert at the Ohio Choral Directors Association, the Ohio Music Education Association Convention, and on the subscription concert series at a number of churches across Northeast Ohio.

Members of the Youth Chorus have participated in Holiday performances with The Cleveland Orchestra and Cleveland Orchestra Chorus and as part of the annual Blossom Music Festival. Many members of the Youth Chorus began their Severance Hall “singing career” as members of the Cleveland Orchestra Children’s Chorus, and some have gone on to become members of the Cleveland Orchestra Chorus.

For further information about the Cleveland Orchestra Youth Chorus, please call the Chorus Office at 216-231-7374.

Youth Chorus

SEVERANCE HALL

Daniel Singer

Adam Landry Acting Assistant Director Cleveland Orchestra Youth Chorus

Acting Director Cleveland Orchestra Youth Chorus Acting Assistant Director Cleveland Orchestra Choruses

Daniel Singer joined the choral conducting staff of the Cleveland Orchestra in 2012 as assistant director of the Cleveland Orchestra Youth Chorus.

He was promoted to acting director of the Youth Chorus with the start of the 2017-18 season.

Since 2011, Mr. Singer has served as director of Music at University School in Hunting Valley, Ohio, where he conducts orchestra and chorus.

Mr. Singer is also active as a guest conductor and clinician, and has worked with honor choirs and top student ensembles in Ohio, Michigan, Illinois, and North Carolina. Daniel Singer performs professionally with Quire Cleveland and has sung as baritone soloist with ensembles throughout the region, including the Wooster Symphony Orchestra and Chorus, Choral Arts Cleveland, and the Suburban Symphony of Cleveland. Additionally, he is also an arranger and composer, having written for choral and instrumental groups throughout the United States.

Prior to coming to Ohio, Mr. Singer worked as a performer, music director, and teacher in the Chicago area. He taught high school choral music in the cities of Lincolnshire and Cary and participated in music engagement in the Chicago Public Schools. Mr. Singer holds a bachelor of music degree in choral and instrumental music education from Northwestern University and a master of music degree in choral conducting from Michigan State University.

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Youth Chorus: Directors

Adam Landry became acting assistant director of the Cleveland Orchestra Youth Chorus at the start of the 2017-18 season. He currently teaches music theory in the Mentor Public School District, and directs six high school choirs as well as an extracurricular show choir.

Mr. Landry is also a member of the Cleveland Orchestra Chorus. He has served in many roles with the Ohio Music Education Association (OMEA), most recently as District VII secretary/treasurer and all-state choir coordinator. Mr. Landry studied music education at Bowling Green State University and the University of Michigan.

AUDITIONS for the Cleveland Orchestra Youth Chorus’s 2018-19 Season will occur on Saturday, May 26, and Saturday, June 2, by timed appointment. Auditions are open to students entering grades 9-12 in the fall of 2018, as well as 8th grade boys with changed voices. To reserve an audition appointment, please send an email to chorus@clevelandorchestra.com, call 216-231-7374, or visit www.coyccochorus. com.

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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

Symphony No. 1 in E minor

by Jean Sibelius

F

composed 1898-99

I N N I S H C O M P O S E R Jean Sibelius built a solid

and lasting reputation in creating seven symphonies. Outside his native land, these (along with the Violin Concerto) are his best-known and most-loved works.

Like Beethoven, Sibelius had waited until he was thirty before writing a symphony. He was 59 when he comJean pleted his last, No. 7, in 1924. (Sibelius’s much-talkedSIBELIUS about Eighth Symphony, so keenly anticipated and so born December 8, 1865 lavishly discussed by music-lovers and journalists for in Hämeenlinna, Finland decades, never appeared — or was perhaps intentiondied September 20, 1957 ally destroyed by the composer — even though he in Järvenpää, Finland lived a full thirty years after retiring from composition.)

At his family's insistence, Sibelius had first studied law at Helsinki before shifting to what he had always liked most, music, and taking courses in Berlin and Vienna. His home country, Finland, was aflame with patriotic sentiment in those years in reaction to Russia’s repressive control, so that his early orchestral works were based on the Finnish national epic, the Kalevala. His stirring overture Finlandia brought him wide support and celebrity.

Sibelius knew, however, that a reputation beyond the borders of his country would depend on music with a broader international appeal, which in essence called for creating symphonies. He had always shown a capacity for thinking on a large scale, across four or more movements, and was undaunted by the task ahead.

Sibelius began work on his First Symphony while in Berlin. On April 27, 1898, he wrote to his wife: “I have now worked hard for three days. It has been wonderful. I’m working on the new thing, alla sinfonia.” (In another letter to his wife from this time he wrote: “I’ll tell you just how much I drink and smoke, absolutely truthfully. Whether it be little or much. Yesterday I only drank on two occasions a glass of red wine and smoked one (!) cigar.” Sibelius was given to bouts of heavy drinking throughout his life, and was fond of cigars, yet he lived to be ninety-one.)

The First Symphony appeared in 1899 and with it — alongside Finlandia and the Lemminkäinen suite — came international renown. He was invited to conduct his music in Stockholm, Paris, Heidelberg, and Berlin. He acquired a publisher in Leipzig (German publishers were then considered the most prestigious) and met Dvořák in Prague. All of this pushed his acclaim at home to such a level that he was awarded a Finnish state pension for life and resigned his teaching post at Helsinki University.

There were to be dark times ahead when poor health, money problems, too much drinking, and anxiety about his standing in contemporary music dogged him, but for the first few years of the 20th century Sibelius was riding high. For a period of years, he produced important works regularly, breaking down European prejudices about composers from remote parts.

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About the Music

17

For the first half of the 20th century, Sibelius’s reputation in Britain and the United States was at the level where Mahler’s is now — he was at the apex and his creations were the pinnacle of the modern symphony, and just below the titan of Beethoven in importance and universality. The English critic Cecil Gray roundly declared Sibelius to be “the greatest master of the symphony since the death of Beethoven.”” His more measured colleague Ernest Newman said of the First Symphony: “The impression it makes is that here we have a man really saying things that have never been said in music before. Every page of it breathes of another manner of thought, another way of living, even another landscape and seascape than ours.”

For many of us today, Sibelius’s First Symphony is easily compared to the last two from Tchaikovsky. Like Tchaikovsky’s Fifth, it is in the key of E minor and the opening movement begins with an important theme laid out by the clarinet. It also concludes with a grandioso reprise of the finale’s second theme. Some of the breadth that Anton Bruckner brought to his symphonies will also observed, as Sibelius presents long unhurried “paragraphs of music,” scored without fussiness.

The clarinet’s theme is not heard again until the last movement, but it supplies hints of some of the themes to come. It is immediately followed by the opening movement’s Allegro section, in which a succession of distinct themes are heard, one of them using the stirring scoring of violins and cellos in octaves. The first climax is reached by Tchaikovsky’s method of pushing the top notes ever higher and the bottom notes ever lower.

One telling characteristic of Sibelius’s writing is his habit of allowing the music to change tempo, sometimes almost unnoticed, speeding up over a long repetitive passage and then either arriving at a new faster tempo or reverting to the earlier slower tempo. Over and above these mild disturbances the first movement leaves an impression of powerful organic growth all the way to the final thunder on the timpani.

The second movement has the flavor of a lament, which eventually begins to grow in strength and speed. The pace at length reaches double the original tempo, allowing the original theme to return underneath the scurrying texture and to bring back the sense of calm and serenity with which it started. This is an example of Sibelius’s craft at its unique best.

The timpani suggest what will be the theme of the speedy scherzo third movement, which involves some clever dialogue between wind and strings. The movement’s Trio section is a little slower, echoing material from the previous two movements.

It is a full-blooded reprise of the clarinet’s original theme that opens the finale fourth movement, now on full strings, giving way almost at once to a section marked in Allegro tempo, with a restless first theme and a broad theme laid out by all the violins in their lowest register, destined to become a grand statement that will bring this symphony to a grand conclusion.

Performance Time: 40 minutes

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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

Eliesha Nelson CELLO Richard Weiss First Assistant Principal

Clarinet

Jonathan Sherwin Bassoon / Contrabassoon

BRASS Hans Clebsch Horn

Lyle Steelman Assistant Principal Trumpet

David Alan Harrell

Michael Miller

BASS Mark Atherton

Shachar Israel

HARP Trina Struble Principal

KEYBOARD Joela Jones Principal

EMERITUS COACHES Yoko Moore V LIN EMERITU VIO TUS

Erich Eichhorn V LIN EMERITU VIO TUS

Catherina Meints Caldwell CELLO EMERITU CE 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

Trumpet Assistant Principal Trombone

Yasuhito Sugiyama Principal Tuba

PERCUSSION Thomas Sherwood

With Special Thanks To Robert O’Brien LIBRA R RIA I N

Paul Yancich

PRINCI C PAL TIMPANI

Percussion

THE CLEVELAND ORCHESTRA Franz Welser-Möstt , Musicc Director Richard K. Smucker, r Presid dent André Gremillet, Exxecutivve Director

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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 Lauren Generette, Manag ger, Cleveland Orcheestra Yo outh Orchestra Austin Land, Artistiic/Operrations Coordinator, Youth Orchestra a and Ed ducation Programs

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Appreciation

19

Song of Democracy

by Howard Hanson composed 1957

T

H E R E H A V E A L W AY S been conservatives and

progressives, in music and all other spheres of human endeavor. Some — composers, performers, listeners — are happy with the status quo, even with yesterday’s hits. Others are constantly experimenting and striving to find or create new sounds for tomorrow’s ears. Howard Hanson lived comfortably in both worlds Howard — writing his own music conservatively (but with great HANSON finesse), while also tirelessly championing the new works born October 28, 1896 of others far more daring than himself. in Wahoo, Nebraska Hanson was part of a new generation of Ameridied February 26, 1981 can composers, born at the turn of the 19th to the 20th in Rochester, New York century, coming of age with the horrors of World War I, and well aware of a larger world. He studied at the Institute of Musical Arts in New York City and then at Northwestern University. In 1921, he became the first American to win the Prix de Rome, a French prize that recognized the latent talents of generations of young French artists (including Berlioz, Gounod, Bizet, and Debussy), by providing funds for young painters, architects, sculptors, and composers to study in Rome for a year or two. Hanson spent his time in Italy studying with Ottorino Respighi, whose decidedly Romantic musical tendencies meshed well with and encouraged Hanson’s own conservative bent.

Upon his return to the United States at the age of 28, Hanson was appointed director of the Eastman School of Music. Over the next four decades, he developed that school into one of the world’s best conservatories. In his role as conductor of the school’s orchestral program, he presented over 1,500 works by some 700 different composers, including many world premieres and with particular attention to new American pieces.

Hanson composed constantly throughout most of his life, and was early on recognized as an authentic voice in American classical music. His seven symphonies projected strength and assuredness. He also wrote a number of important works for chorus, including Lament for Beowulf (1926), Song from “Drum Taps” (1935, to poetry by Walt Whitman), Song of Democracy (1957), and The One Hundred Fiftieth Psalm (1968).

Utilizing sections of two poems by Whitman, Hanson created Song of Democracy on a commission from the National Education Association (NEA) and the Music Educators National Conference (MENC) in commemoration of NEA’s 150th anniversary. Not just the music, but the words themselves conjure an uplifting American outlook on life and self-government, of a people working together (just like the chorus and instrumentalists in performance) to create a sustaining whole, with each musician taking responsibility for their own part and their role in the overall piece.

Performance Time: just over 10 minutes

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About the Music

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Song of Democracy

from texts by Walt Whitman (1819-1892)

An Old Man’s Thought of School (For the dedication of a New Jersey public school, 1874) An old man’s thought of school, An old man’s gathering youthful memories and blooms that youth itself cannot.

Now only do I know you, O fair auroral skies — O morning dew upon the grass!

And these I see, these sparkling eyes, These stores of mystic meaning, these young lives, Building, equipping like a fleet of ships, immortal ships, Soon to sail out over the measureless seas, On the soul’s voyage.

Only a lot of boys and girls?

Only the tiresome spelling, writing, ciphering classes?

Only a public school?

Ah more, infinitely more.

And you, America, Cast you the real reckoning for your present?

The lights and shadows of your future, good or evil?

To girlhood, boyhood look, the teacher and the school.

Thou Mother With Thy Equal Brood, Part 4 (Leaves of Grass, 1881-82) Sail, Sail thy best, ship of Democracy, Of value is thy freight, ’tis not the present only, The Past is also stored in thee.

Thou holdest not the venture of thyself alone, not of thy Western continent alone.

Earth’s résumé entire floats on thy keel, O ship, is steadied by thy spars, With thee Time voyages in trust, the antecedent nations sink or swim with thee.

With all their ancient struggles, martyrs, heroes, epics, wars, thou bear’st the other continents, Theirs, theirs as much as thine, the destination — port triumphant; Steer then with good strong hand and wary eye O helmsman, thou carriest great companions, Venerable priestly Asia sails this day with thee, And royal feudal Europe sails with thee.

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Sung Text

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SOLOISTS Marian Vogel Soprano Marian Vogel made her Carnegie Hall debut singing the soprano solos in the Mozart Requiem and Rutter’s Magnificat under the baton of composer John Rutter. She has performed many leading operatic roles, including Cio-Cio San in Madama Butterfly, Mimi and Musetta in La Bohème, and Violetta in La Traviata, as well as many Gilbert & Sullivan heroines and musical theater roles. Equally at home on the concert stage, Ms. Vogel has appeared in major works across the United States and in Europe. Ms. Vogel is a two-time first prize winner of the Metropolitan Opera National Council District Auditions and the winner of the Belle O. Morse Young Artist Award. She is a graduate of the University of Cincinnati College-Conservatory of Music.

Brian Keith Johnson Baritone Brian Keith Johnson has performed many roles in opera, from Figaro in The Barber of Seville and Don Alfonso in Così fan tutte to Ford in Falstaff and Crown in Porgy and Bess.

As a member of Actors’ Equity, he has played a variety of musical theater roles, ranging from Jim in Big River to Father/ God in Children of Eden. He has appeared as soloist with orchestras across the United States, in repertoire ranging from Bach’s Magnificat and Mozart’s Requiem to Beethoven’s Ninth Symphony, Brahms’s A German Requiem, and Orff’s Carmina Burana. Mr. Johnson received his bachelor’s degree from the University of Akron and has also studied abroad at the New Opera Academy of Rome and at the American Institute of Musical Studies in Graz, Austria.

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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Guest Artists

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Te Deum, Opus 103 by $QWRQtQ 'YRŐiN

I

composed 1892 N D E C E M B E R 1 8 9 1 , Antonín Dvořák signed

a contract to travel from his homeland in Europe to New York, where he was to be director of the National Conservatory for two years. It was a bold step. He was fifty years old, already world-famous, and comfortably set up with an apartment in Prague and a house Antonín in the Bohemian countryside where he loved to retreat '92ŏÁK to. Taking a position in the New World was widely regarded by European musicians as the last resort of born September 8, 1841 in Nelahozeves, Bohemia the desperate. It was all right to visit America, give a few concerts, and come home rich (as Tchaikovsky was died May 1, 1904 about to do at just this same time), but for an estabin Prague lished composer to stay in the United States for a prolonged period was unheard of.

Nevertheless, Dvořák was persuaded by dollars and a daredevil spirit to sign the contract. From his frequent visits to England, he already had a respectable command of English. On September 15, 1892, he left Bohemia (more or less today’s Czech Republic) with his wife, his two eldest children, and a secretary, leaving four children in the care of his mother-in-law. They sailed from Bremen and arrived in New York ten days later. In the composer’s luggage were two new works he had written especially for his first New York appearances. One was a cantata with an English text, called The American Flag, which was not yet finished and which was destined not to be heard until 1895, after Dvořák’s return to Europe. Today it is a sadly forgotten work.

The other piece in Dvořák’s suitcase was a Te Deum, which he had composed that July at his country retreat with the intention of including it in his first New York concert.

This was originally planned to coincide with the nationwide celebration on October 12th of the 400th anniversary of Columbus’s epic voyage. In the end, the concert did not take place until October 21, but the work was nonetheless dedicated to the memory of Columbus — the Latin text having in many previous settings and instances been treated as a suitable hymn for celebrations and triumphs. Dvořák treats the words in that spirit, even adding an “Alleluia” at the end in a final paean of praise.

What can sound to modern ears, in the first movement, repetitive and energizingly minimalist, was in fact intended to be outdoor festive music — music for the masses with few complications or modulations, and a clear message of praise. At the start, drums beat ceaselessly and the strings go round and round on a motif that will be heard again later. It is an amazingly striking opening, and the original New York audience must have wondered, momentarily, if this famous composer was writing down to them with a certain disdain. But then, from the moment the soprano soloist enters with “Sanctus, sanctus,” the musical language changes to the beautifully expressive style that Dvořák had perfected in earlier works, including his first eight symphonies.

A colossal key-shift announced by a brass fanfare opens the second movement,

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About the Music

23

Tu Rex gloriae. The shape of the work has been likened to that of a four-movement symphony, so this would be the slow movement in such a plan. It is hardly necessary to point out that Dvořák writes beautiful melodies, as he did here for the bass soloist at “Tu ad liberandum,” but he is at his most inventive in devising accompaniment figures, often just audible because of their intricacy, but always contributing to the richness of the orchestral background.

The third movement, Aeterna fac cum Sanctis, is the scherzo of this “symphony,” led off by the altos with a boisterous tune that each section of the chorus copies in turn. But when the text reaches “Per singulos dies,”” the music has become calmer and more humble, and the orchestra closes the movement with some ravishing harmony and a few remnants of the quicker music. This leads directly into the last movement, which involves both soloists and the chorus. The soprano gets the spacious melodies while the chorus remains humble until shouts of “Alleluia” intrude, driving the music toward a full-blooded reprise of the opening music.

Performance Time: 20 minutes PROGRA R M NOTES BY ERIC SELL E EN AND HUGH MACD M ONALD N © 2018.

CONTACT INFORMATION music.depauw.edu 765-658-4118 georgepalton@depauw.edu

School of Music 24

About the Music

2018 AUDITION WEEKENDS February 16-17 March 4-5 Auditions also available by appointment

SEVERANCE HALL

Te Deum, Opus 103 traditional texts of praise and celebration with music by Antonín Dvořák (1841-1904)

1. Te Deum laudamus Te Deum laudamus, Te Dominum confitemur.

Te aeternum Patrem omnis terra veneratur.

We praise you, God; we confess you as Lord.

Eternal Father, you are venerated by all the Earth.

Tibi omnes Angeli, tibi coeli et universae potestates, tibi Cherubim et Seraphim, incessabili voce proclamant: Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth!

Pleni sunt coeli et terra majestate gloriae tuae.

To you all Angels, to you the heavens and universal powers, to you Cherubim and Seraphim proclaim with an unceasing voice: Holy, Holy, Holy, Lord God of Hosts!

The heavens and Earth are filled with the majesty of your glory.

Te gloriosus Apostolorum chorus, (Sanctus Dominus Deus Sabaoth) te prophetarum laudabilis numerus, (Sanctus Dominus Deus Sabaoth) te Martyrum candidatus laudat exercitus.

(Sanctus Dominus Deus Sabaoth) Te per orbem terrarum sancta confitetur Ecclesia, Patrem immensae majestatis: Venerandum verum et unicum Filium, Sanctum quoque Paraclitum Spiritum.

The glorious chorus of Apostles, (Holy Lord God of Hosts) the laudable numbers of the prophets, (Holy Lord God of Hosts) the host of Martyrs, white-robed, praise you.

(Holy Lord God of Hosts) Throughout the earthly globe, the holy Church confesses you, Father of immense majesty, Your honorable, true and only son, And the Holy Spirit and Advocate.

2. Tu Rex gloriae Tu rex gloriae, Christe!

Tu Patris sempiternus, tu Patris es Filius.

Tu ad liberandum suscepturus hominem, non horruisti Virginis uterum, Tu devicto mortis aculeo, aperuisti credentibus regna coelorum.

You are the King of glory, Christ, you are eternally of the Father, you are Son of the Father.

To liberate us you took up humanity, you did not abhor the Virgin’s womb.

Having overcome death’s sting, you opened to believers the kingdom of heavens.

P L E A S E TURN PAGE QUIETLY

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Te Deum — Sung Text

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(Te ergo quaesumus, tuis famulis subveni, quos pretioso sanguine redemisti.)

(Therefore, we pray you to aid your servants, who by your blood you redeemed.)

Tu ad dexteram Dei sedes, in gloria Patris.

Judex crederis esse venturus.

Te ergo quaesumus, tuis famulis subveni, quos pretioso sanguine redemisti.

You sit at the right hand of God in the glory of the Father.

You are believed to be the judge who will come.

Therefore, we pray you to aid your servants, whom by your blood you redeemed.

3. Aeterna fac cum Sanctis Aeterna fac cum Sanctis tuis in gloria numerari.

Salvum fac populum tuum, Domine, et benedic haereditati tuae, et rege eos, et extolle eos usque in aeternum.

Grant to us eternally with your Saints to be numbered in glory.

Make your people safe, Lord, and bless your heritage, and rule them, and extol them continually for eternity.

Per singulos dies, benedicimus te, et laudamus nomen tuum in saeculum, in saeculum saeculi.

Throughout each day we bless you, and we praise your name for centuries from generation to generation.

4. Dignare Domine Dignare Domine, die isto sine peccato nos custodiri.

Miserere nostri, Domine, Fiat misericordia tua, Domine, super nos, quemadmodum speravimus in te.

In te, Domine, speravi, non confundar in aeternum.

Benedicamus Patrem et Filium cum Sancto Spiritu.

Alleluja!

Laudemus et superexaltemus eum in saecula.

Alleluja!

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Lord, deign to keep us from sin this day.

Have Mercy on us, O Lord.

Let Your mercy, O Lord, be upon us for we have hoped in You. O Lord, in You I have hoped; let me never be put to shame.

Let us bless the father and the Son and with the Holy Spirit, Alleluja!

Let us praise and exalt Him highly, Alleluja!

Te Deum — Sung Text

SEVERANCE HALL

Instrument and Voice Teachers The members of the Cleveland Orchestra Youth Orchestra and Youth Chorus About the Music express gratitude 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 Jessica Lee 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

PERCUSSION TEACHERS Ryun Louie Luke Rinderknecht Thomas Sherwood* Brian Sweigart

FLUTE TEACHERS Linda Miller Angie Ro Martha Somach Saeran St. Christopher* Rae Yeager

HARP TEACHERS Xiao Lei Salovara

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 TRUMPET TEACHERS John English Ken Holzworth Michael Miller* Loren Toplitz TROMBONE TEACHERS James Albrecht Jason Hadgis Jason Smith TUBA TEACHERS Yasuhito Sugiyama*

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Appreciation

KEYBOARD TEACHERS Nancy Bachus

* Member of The Cleveland Orchestra ** Retired member of The Cleveland Orchestra VOICE TEACHERS Eniko Balacz Ryan Bergeron Ann Castellano Norma Codispoti Brenda Cuffari Joshua Fadenholtz Katie Fowler Simone Gall Judith Higbee Caroline Holtz Denise Howell Kimberly Judd Galen Karriker Kyle Kelvington Kim Lauritsen Allan Licht Leslie Macone Gabriela Martinez Noriko Paukert Ben Richard Bonnie Savage-Farinacci Laura Schupbach-Barkett Heidi Skok Emily Stauch Mary Krason Wiker Cynthia Wolhschlager

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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.

THE PROMETHEUS PROJECT

BEETHOVEN THE CLEVELAND ORCHESTRA

CLEVELAND May 1O-19 VIENNA May 24-28 TOKYO June 2-7

conducted by Franz Welser-Möst

The Cleveland Orchestra’s Centennial Season ends with a special series of concerts on three continents. Franz Welser-Möst examines Beethoven’s nine symphonies through the story of PROMETHEUS, a titan of Greek mythology who defied Zeus to give fire to humanity — sparking imagination, civilization, learning, and creativity. Similarly, BEETHOVEN, a titan of classical music, pursued his own art and energies in service to Promethean beliefs — in the goodness of humanity, and the ongoing heroic struggle to create a better world, filled with justice and human worth. These Festival concerts are a not-to-be-missed experience to hear Beethoven’s genius in its glory and great goodness.

CLEVELAND S E V E R A N C E H A L L MAY 10 Symphonies Nos. 1 and 3 (“Eroica”) MAY 11 Symphonies Nos. 4 and 7 MAY 12 Symphonies Nos. 8 and 5 MAY 13 Symphonies Nos. 6 (“Pastoral”) and 2 MAY 17, 18, 19 Symphony No. 9 (“Choral”)

2 1 6- 2 3 1-1 1 1 1 clevelandorchestra.com T IC KETS

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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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).

31

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