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

May 5, 2O18 Severance Hall

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

Prelude Concert Cleveland Orchestra Youth Orchestra

Saturday evening, May 5, 2018, at 7:00 P.M. in Reinberger Chamber 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.

Members of the Cleveland Orchestra Youth Orchestra PYOTR ILYICH TCHAIKOVSKY (1840-1893)

Serenade for Strings in C major, Opus 48 1.

2.

3.

4.

Pezzo in forma di sonatina: Andante non troppo — Allegro moderato Valse [Waltz]: Moderato — Tempo di valse É Élégie: Larghetto elegiaco Finale (Tema russo): Andante — Allegro con spirito Yun-Ting Lee,* violin 1 Andrew Smeader, violin 1 Masayoshi Arakawa, violin 2 Alexandra Xuan, violin 2 Sonja Braaten Molloy,* viola Ginger Deppman, viola Theodora Bowne, cello Katarina Davies, cello Matthew Fields, cello Zach Keum, cello Charles Carleton,* bass

In addition to the coach-players listed above, Cleveland Orchestra cellist Paul Kushious* also helped prepare for this performance.

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 last 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

Saturday evening, May 5, 2018, at 8:00 P.M. Severance Hall — Cleveland, Ohio Vinay Parameswaran, conductor LUDWIG VAN BEETHOVEN

(1770-1827)

F. JOSEPH HAYDN

(1732-1809)

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Overture: Coriolan, Opus 62 Trumpet Concerto in E-flat major 1. Allegro 2. Andante 3. Finale: Allegro CHARLIE JONES, trumpet

INTERMISSION RICHARD DANIELPOUR

Toward the Splendid City

WITOLD LUTOSŁAWKSI

Concerto for Orchestra

(b. 1956)

(1913-1994)

1. Intrada 2. Capriccio, notturno e arioso 3. Passacaglia, toccata e corale

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 FIRST VIOLIN Julia Schilz

Maria Zou

CONCERTMASTER Hathaway Brown School

Uzo Ahn

Wenlan Jackson

Hudson High School University School

ASSISTANT CONCERTMASTER Shaker Heights High School

Ayano Nakamura

Hannah Lindvall

Lea Kim

Ohio Virtual Academy

Andrew Smeader Padua Franciscan High School

Kevin Tan Strongsville High School

Kaylee Bontrager Home schooled / Central Christian School

Moonhee Kim Beachwood Middle School

Erika Lee Strongsville High School

Sofia Ayres-Aronson Shaker Heights High School

Alexandra Xuan Lake High School

Claire Schmeller Medina High School

Tae-Hee Kim Hathaway Brown School

Brice Bai Hathaway Brown School

Richard Jiang Solon High School

Maya Schane Oberlin High School

Oberlin High School

Hawken School

Kevin Du Hudson High School

OBOE Amelia Johnson D Bay High School

Shaker Heights High School

Victoria Schaefer B

Anna Burr

Cuyahoga Falls High School

Hudson High School

Leo Sherwood H

Ania Lewis

University School

Gilmour Academy

Kate Young L

Zachary Keum

Strongsville High School

University School

Adam Warner

David Cho

ASSISTANT PRINCIPAL Cleveland School of the Arts

Kamryn McCrory

ENGLISH HORN Amelia Johnson L Kate Young D

Twinsburg High School Laurel School

CLARINET Lauren Thomas B

Hudson High School

Kenston High School

Cleveland School of the Arts

Peter Varga L

Solon High School

Ginger Deppman Oberlin High School Shaker Heights High School Montessori High School

ASSISTANT PRINCIPAL Home schooled

Natalie Brennecke

Annika Bowers

Mitchell Likovetz

Home schooled Hudson High School

Sam Rosenthal Shaker Heights High School

Kristen Nedza Solon High School

Solon High School

BASS Jacob Kaminski

Katherine Wang D Hathaway Brown School

PRINCIPAL Mentor High School

BASS CLARINET Peter Varga D Andrew Buckley L **

Grace Cumberlidge ASSISTANT PRINCIPAL Hudson High School

Evan Rowland-Seymour Montessori High School

Jacqueline Marshall Laurel School

Jamie Park Beachwood Middle School

Mark Yost Mentor High School

Maxwell Moses Elyria High School

Amanda Tavani ** Tom While**

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PICCOLO Kara Li D, L Jason Suh L

Lauren Hertzer

Anna Goldberg

Mikel Rollet

Dublin Jerome High School

Cleveland Heights High School

Shaker Heights High School

PRINCIPAL The Lyceum

Charlotte Lo

Christine Shih

Shaker Heights High School

Lily Waugh B

Home schooled

Faith Geho

Sandy Shen

Copley High School

Theodora Bowne

VIOLA Claire Peyrebrune

PRINCIPAL Solon High School

Home schooled

Jason Suh D

Katarina Davies

Shaker Heights Middle School

Moshi Tang

James Hettinga D, L

Shaker Heights High School

Hudson High School

Elizabeth Huang

Shaker Heights High School

Kara Li H

Rachelle Larivee

Hawken School

Owen Lockwood

PRINCIPAL Cleveland Heights High School

ASSISTANT PRINCIPAL Solon High School

Claudia Hamilton

Westlake High School

FLUTE Krysta-Marie Aulak L

Katsuaki Arakawa

Solon High School

Katya Schane

Cole Hoff

CELLO Matthew Fields B, H

PRINCIPAL Home schooled

Hudson High School

SECOND VIOLIN Masayoshi Arakawa Célina Béthoux

M U S I C D I R E C TO R

Youth Orchestra

BASSOON David Coy L Mentor High School

Jonathan Leopold D Midview High School

Emily Schrembeck H Lake High School

Gabriel Zechman B Manchester High School

CONTRABASSOON David Coy D Emily Schrembeck L

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HORN Sophie Calabrese L

TROMBONE Gautam Apte L

Shaker Heights High School

Nicolas Haynes

Shaker Heights High School

Derek Gullett D

Lexington High School

Jeff Sharoff ** TUBA Nicholas Withey

CELESTA George Shum L

Eric Weaver

Bay High School

Nordonia High School

Angeline Monitello H Gilmour Academy

Alex Yonek B Brunswick High School

Hannah Messenger

**

TRUMPET Steven Cozzuli D Northwestern High School

Xan Denker B Twinsburg High School

Charlie Jones L Cuyahoga Valley Christian Academy

Amy Head

Willoughby South High School

Sydney Gembka Jason Gugick Ian Marr Taylor Newman **

Lake High School

Lauren Jensen D

PERCUSSION Catharine Baek

Southeast High School

West Geauga High School

Jason Gugick L Mayfield High School

Ian Marr B, D Shaker Heights High School

H **

LIBRARIAN Austin Land

**

= extra/substitute musician

Hawken School

Wending Wu D TIMPANI Sydney Gembka H

MANAGER Lauren Generette

Hudson High School

PIANO Wending Wu D, L HARP Lauren Jensen L Bay High School

Natalie Mann D **

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

PRINCIPAL PLAYERS B = Beethoven H = Haydn D = Danielpour L = Lutosławski

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

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M U S I C D I R E C TO R

guest artists and conductors. Those guests 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 sched-

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 ule 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. In March 2018, the ensemble performed with the Cleveland Orchestra Youth Chorus in a special Arts Advocacy Day concert presentation for legislators at the Ohio Statehouse in Columbus during Music in Our Schools month.

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

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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

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), and including a variety of community concerts by both the full orchestra and chamber groups of Youth Orchestra members.

Cleveland Orchestra Youth Orchestra

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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

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

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Mozart’s The Magic Flute and Donizetti’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 Otto-Werner Mueller as the Albert M. Greenfield Fellow.

Youth Orchestra: Music Director

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CLEVELAND ORCHESTRA

Youth Orchestra Graduating Members . . .

Uzo Ahn (violin 2015-2018) plans

to attend Wake Forest University, with a major in business and minor in psychology Gautam Apte (bass 2013-2017, trombone 2017-2018) will attend The Ohio State University to major in environmental science

Katsuaki Arakawa (cello 2015-2018) will

attend the University of Michigan School of Music, majoring in cello performance Masayoshi Arakawa (violin 2015-2018) will study violin perforance at the University of Michigan

Krysta-Marie Aulak (flute 2015-2018) plans to pursue a major in

medical anthropology and flute performance with a minor in political science at Case Western Reserve University

Sofia Ayres-Aronson (violin 2014-2018) will study

creative writing at Emory University

Catharine Baek (percussion 2015-2018) will

study piano performance and environmental science at University of Cincinnati College Conservatory of Music

Brice Bai (violin 2013-2018) plans to attend Yale University

to major in economics, engineering, or computing & the arts

Annika Bowers

(violin 2016-2018) will major in violin performance at McGill University

Anna Burr

(cello 2016-2018) will attend Baldwin Wallace Conservatory of Music, studying cello performance and music history & literature

David Coy (bassoon 2016-2018) will

attend University of Cincinnati College Conservatory of Music to pursue a bachelor’s degree in composition

Steven Cozzuli (trumpet 2016-2018) plans to major in

music performance for trumpet at Oberlin Conservatory of Music

Grace Cum-

berlidge (bass 2016-2018) will attend Northern Arizona University, double majoring in music education and bass performance

Kevin Du (violin 2016-2018) plans to at-

tend Case Western Reserve University as a biomedical engineering major

Matthew

Fields (cello 2014-2018) will attend McGill University as a cello performance major Sydney Gembka (percussion 2014-2018) plans to pursue a double major in percussion performance and music education, attending the University of Michigan Jason Gugick (percussion 2017-2018) will pursue a music production degree at Berklee School of Music in Boston

James Hettinga (cello 2013-2018) will pursue a cello

performance degree at the Cleveland Institute of Music

Charlie Jones (trumpet

2015-2018) will study trumpet performance at the New England Conservatory Jacob Kaminski (bass 2016-2018) will attend Baldwin Wallace University, pursuing a performance degree on the bass

Tae-Hee Kim (violin 2016-2018) plans to at-

tend Case Western Reserve University to major in medical anthropology and physics

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Graduating Members

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Bravo!

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Rachelle Larivee (cello 2014-2018) will study neuroscience at Belmont University

Erika Lee (violin 2014-2018) will be attending Boston University, majoring Jonathan Leopold (bassoon 2017-2018) will

in economics and mathematics

attend The Ohio State University to major in microbiology with a pre-med track, while also playing bassoon as a music minor

Kara Li (flute 2017-2018) plans to

attend the University of Pennsylvania to study chemical and biomolecular engineering

Hannah Lindvall (violin 2016-2018) will pursue a violin performance degree

at Northwestern University

Claire Peyrebrune (viola 2013-2018) will attend the

Cleveland Institute of Music, studying viola performance

Sam Rosenthal (viola

2015-2018) will major in viola performance at Juilliard School of Music

Katya

Schane (violin 2017-2018) will study violin performance and microbiology at Southern Methodist University

Andrew Smeader (violin 2014-2018) will pursue a

double major in music and cognitive science in the the joint music program offered

by Case Western Reserve University and the Cleveland Institute of Music

Jason

Suh (flute 2015-2018) will study neuroscience with a pre-medical track at The Ohio State University

Kevin Tan (violin 2016-2018) will attend Ohio Northern Uni-

versity to major in pharmacy

Peter Varga (clarinet 2016-2018) will pursue a

clarinet performance degree at Baldwin Wallace Conservatory of Music

Adam

Warner (viola 2016-2018) will study environmental science engineering at Skidmore College

Nick Withey (tuba 2016-2018) will attend the Cleveland Institute of

Music to major in tuba performance

Kate Young (oboe 2016-2018) plans to at-

tend the University of Texas at Austin, majoring in oboe performance with a minor in Spanish

Gabriel Zechman (bassoon 2017-2018) will study journalism at New

York University

Maria Zou (violin 2015-2018) will attend Brown University to

major in chemistry and political science.

More than 1500 students have been members of the Cleveland Orchestra Youth Orchestra during the ensemble’s first three decades, representing a remarkable group of talented young people. For some, their interest in music has carried them forward into careers as educators and performers. For others, music continues as an important part of their lives and careers in business, the arts, and community service.

SEVERANCE HALL

Graduating Members

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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.

Overture: Coriolan, Opus 62

by Ludwig van Beethoven composed 1807

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 (Fidelio) 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 Ludwig van humanity — and the need both to “fight for good” and BEETHOVEN for heroes to lead us forward by example and sacrifice.

His earliest overture, from 1801, was part of a balborn December 16, 17 770 Bonn, Germany let score, titled The Creatures of Prometheus. The ballet’s storyline was directly related to Beethoven’s beliefs, of died March 26, 1827 Vienna a hero (the demi-god Prometheus) who defies authorities (the gods) to help humanity. It is, in fact, a philosophical outlook — of a hero fighting for justice — 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 and spiritually, and perhaps even physically.

Franz closes The Cleveland Orchestra’s 2017-18 Season with a three-continent festival titled “The Prometheus Project” — with concerts in Cleveland, then repeated in Vienna and finally in Tokyo. The festival’s concerts re-examine Beethoven’s symphonies viewed around the ideal of Promethean heroics — of the mythological Prometheus as metaphor, daring to help humanity by stealing fire from the gods and sparking civilization and justice and goodness forward. Music as philosophical messenger.

Beethoven wrote his concert overture Coriolan in 1807 in response to the hero portrayed in a contemporary play by Heinrich Joseph von Collin (to whom Beethoven dedicated the overture). Collin’s play was itself a re-telling of Shakespeare’s Coriolanus. The storyline concerns a Roman general, Gaius Marcius, who saves the city of Corioli (thus gaining the honorary title Coriolanus), but then becomes embroiled against Roman society’s expectations of what is right and wrong, honorable and disreputable. This hero is multi-sided, at first strong and heroic and honored, but later filled with venom and hatred at those who have turned against him. Such strong emotions and contrasts make good theater — and good music.

In the play’s hero — alternately lionized and despised — Beethoven’s own beliefs in goodness and character mirrored his own struggles against society’s expectations, and his fate-filled fight against deafness. Heroes must make choices, civilization must move forward. Onstage, Coriolan resolves his conflicting actions in response to his mother’s pleas to forgive the citizens arrayed against him. He relents, knowing that he will be killed for his misdeeds.

The Overture begins with a series of dramatic chords across a harmonic progres-

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About the Music

15

Coriolanus Yields to his Mother’s Pleas — In a 19th-century illustration, the flawed hero Coriolanus finally agrees to end his despotic rule, yielding to his mother’s impassioned pleas.

sion, immediately unfolding into an agitated melody that keeps unrolling.

Suddenly, there is calm and serene music. But this, too, is stabbed with chords of challenge and rumblings of timpani. Beethoven works through and develops this material, with an almost continuous sense of foreboding and energetic fighting. The opening chords return midway, as does the beautiful melody, briefly giving us a sense of safety. The hero’s stormy life continues, however, amidst bursts and stops, soundings and momentary calms. Eventually, the material gathers itself to the opening chords once more — and finally angles downward to a quiet, subdued ending. This hero has split his life between good and bad, but fully accepts the outcome of his fateful choices.

Performance Time: nearly 10 minutes

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

16

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.

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 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 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, University School Jason Branch, West Geauga High School Hilary Patriok, Westlake High School

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Appreciation

17

Trumpet Concerto LQ ( ÁDW PDMRU

by Joseph Haydn composed 1796

T

H E “ N A T U R A L” T R U M P E T of the 17th and 18th

centuries consisted of little more than a length of tubing and a mouthpiece, from which the player, by the action of the lips alone, could coax differing tones or notes. Scientifically, these notes are a set of mathematically-related pitches, often called a “harmonic F. Joseph series.” As one moves up this series, the pitches occur HAYDN closer together, until at the top of the “old” trumpet’s range they very closely approximate a standard musiborn March 31, 1732 cal scale. Baroque trumpeters learned the taxing art of in Rohrau, Austria “clarino” playing to take advantage of those high notes, died May 31, 1809 and when we admire the “splendor” of certain works in Vienna

by Bach and Handel, we have those trumpeters’ skill to thank for it. Nevertheless, for a long time the trumpet remained a highly-specialized instrument. Limited pretty much to a single tonality (mostly D major), it couldn’t explore even half-adventurous harmonies. And while ideal for martial or celebratory tunes, it wasn’t much use for music’s many other moods.

The quest for a trumpet that could play all the notes of the musical scale led first (in about 1770) to the keyed trumpet, which looked like other trumpets except that it had holes in its tubing, which the player opened and closed with levered “keys” to change the pitch, not unlike a modern flute. The holes cost the instrument some of its stentorian tone, however, so that it sounded somewhat closer to an oboe or clarinet than what we think of as a true trumpet. Around 1820, trumpets began to be fitted with valves instead of keys, and players finally had the best of both: Baroque brilliance and Romantic chromaticism (musical scales, played by choice and with relative ease).

During its brief time in the spotlight, the keyed trumpet had one authentic virtuoso performer, Anton Weidinger (1767-1852). He played natural trumpet in regimental bands, then joined the court opera in Vienna in 1792; by 1795 he had developed unheard-of facility with the new keyed instrument. Franz Joseph Haydn, who used Joseph as his first name thoughout most of his life, was already at work on the great masses and oratorios that would crown his long career, and hadn’t composed a concerto for more than a decade. Evenso, it isn’t hard to understand why he took time out to compose a showpiece for Weidinger.

Today’s composers, raised on jazz and all kinds of fancy musical “footwork,” take for granted the dazzling malleability of the trumpet; for Haydn, this sound was as new and stimulating to the imagination as the synthesizer’s many varied sounds have been in more recent times. To use the trumpet in the fluid harmonic environment that Haydn and Mozart had developed was to discover a new sonic landscape. (For reasons not clearly understood today, although Weidinger travelled widely, he inspired few important works beyond this concerto by Haydn and also one that J. N. Hummel, Haydn’s successor at Eszterháza, composed in 1803.)

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About the Music

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In the concerto’s first movement, Haydn finds a typically witty way to exploit the keyed trumpet’s mellow sound — he gives the vigorous, fanfare-like material to the orchestra instead of the trumpet, reserving the latter for melting, lyrical melodies that slide in half-steps as no natural trumpet could. The middle-movement Andante is a brief but eloquent “operatic aria,” whose pastoral mood comes from its gentle siciliano rhythm and ancient associations of wind music with the countryside. While never losing its poise, the final rondo movement indulges in plenty of robust timpani playing and martial dialogue between soloist and orchestral horns; before the blazing finish, Haydn toys with our expectations, performing his unique alchemy on bits of the main theme.

Performance Time: 15 minutes

SOLOIST Charlie Jones Charlie Jones is an 18-year-old senior at Cuyahoga Valley Christian Academy. He has been a member of the Cleveland Orchestra Youth Orchestra (COYO) trumpet section since 2015 and is the co-winner of COYO’s 2017-18 Concerto Competition. He has also performed as a part of the COYO brass quintet since 2016. This coming autumn, he will enroll at the New England Conservatory, studying trumpet performance with Steven Emery.

In addition to his work with COYO, he plays principal trumpet with his high school’s symphonic band, and has also participated in his school’s marching band, pep band, and pit orchestra. He was principal trumpet with the Cleveland Youth Wind Symphony Symphonic Winds (2012-15), and has played lead trumpet and flugelhorn in the pit orchestras for a variety of musical theater productions. He has studied piano with Grace Huang, Daniel Kenworthy, and Shuai Wang, and voice with Ryan Bergeron.

In 2017, Charlie Jones received second prize in the International Trumpet Guild Senior Youth Solo Competition. In 2016, he was selected to perform in the Cleveland Institute of Music (CIM) Preparatory Honors Recital. He has performed in masterclasses with Vincent DiMartino, Terry Everson, and David Krauss, and has attended several summer music programs, including Eastern Music Festival, Boston University Tanglewood Institute, and Interlochen Arts Camp. He began his trumpet studies with Juan Ingram at age eight, and currently studies with Loren Toplitz at CIM. He has had additional studies with Michael Miller and Lyle Steelman of The Cleveland Orchestra.

Beyond music, Mr. Jones is passionate about the theatrical arts, and has performed onstage in multiple plays and musicals in Northeast Ohio and at Interlochen, Michigan.

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About the Soloist

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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.

Toward the Splendid City

by Richard Danielpour composed 1992

R

I C H A R D D A N I E L P O U R was born in New York

City and, while travelling far and frequently, has lived there all his life. His piece Toward the Splendid City is a portrait of the city, created at a time when the composer was nearly 40 and wrestling with his feelings for and about his hometown. As he says, it was Richard for many years a “love-hate relationship.” Creating this DANIELPOUR musical piece, while not intended as therapy, helped him come to better terms with New York’s conflicting born January 28, 1956 in New York City goods and bads.

Danielpour long ago established himself among resides the most gifted and sought-after composers of his in New York City generation. His music has attracted an international array of champions. At the same time, as a devoted mentor and educator, he has had a significant impact on younger generations of musical artists. His list of commissions include some of the most celebrated artists of recent decades, including Yo-Yo Ma, Jessye Norman, Dawn Upshaw, Emanuel Ax, Gil Shaham, Frederica von Stade, Gary Graffman, Anthony McGill, the Kalichstein-Laredo-Robinson Trio, the Guarneri and Emerson string quartets, and the New York City and Pacific Northwest Ballets, along with many well-known orchestras and festivals. With Nobel Laureate Toni Morrison, Danielpour created Margaret Garner, his first opera, which was premiered in 2005. Recent years have seen multiple new works and comissions. An 80 minute oratorio, The Passion of Yeshua, is scheduled to premiere in July 2018 at the Oregon Bach Festival.

Danielpour has received many honors and awards, including the American Academy of Arts & Letters Charles Ives Fellowship, a Guggenheim Award, Bearns Prize from Columbia University, and fellowships and residencies from the MacDowell Colony, Yaddo, Copland House, and the American Academies in Berlin and Rome. He is a faculty member with the Manhattan School of Music in New York and the Curtis Institute of Music in Philadelphia.

Danielpour is one of the most-recorded composers of his generation; many of his recordings can be found on the Naxos and Sony Classical labels.

T H E C O M P O S E R has written the following comments about this work:

While Toward the Splendid City was composed as a portrait of New York, the city in which I live, it was written almost entirely away from home. Work on the piece began in Seattle in the spring of 1992 and was completed in mid-August of that year in Taos, New Mexico. At the time, I was nearing the end of a year-long residency with the Seattle Symphony, and had serious second thoughts about returning to New York. Life was always complicated in the city and easier, it seemed, everywhere else. I was, however, not without a certain pang of nostalgia for my hometown, and, as a result, Toward the Splendid City was

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About the Music

21

driven by my love-hate relationship with New York. It was, needless to say, a relationship badly in need of resolution.

Eventually, upon returning to Manhattan, I began to understand that the humanity and the difficulty of New York were inseparable — and that if in the difficulties of urban life humanity is to be embraced, then the inconveniences must also be accepted.

The work’s title comes from the heading of Pablo Neruda’s Nobel Prize address in 1974, in which he included the following statement: “We must pass through solitude and difficulty, isolation and silence, to reach forth to the enchanted place where we can dance our clumsy dance and sing our sorrowful song — but in this dance or in this song there are fulfilled the most ancient rites of our conscience in the awareness of being human.”

In addition to being a portrait of New York, Toward the Splendid City was written as a tribute to the city’s orchestra, the New York Philharmonic.

Performance Time: 10 minutes

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 Llinás Assistant Principal Second Violin

Kathleen Collins

WOODWIND Marisela Sager Assistant Principal Flute

Jeffrey Rathbun Assistant Principal Oboe

Robert Woolfrey

First Assistant Principal

Stanley Konopka Assistant Principal

Eliesha Nelson

Principal

EMERITUS COACHES Yoko Moore V LIN EMERITU VIO TUS

Clarinet

Jonathan Sherwin Bassoon / Contrabassoon

VIOLA Lynne Ramsey

KEYBOARD Joela Jones

Phillip Austin

BASSOON EMERITU TUS

With Special Thanks To Robert O’Brien

BRASS Hans Clebsch

LIBRA R RIA I N

Horn

Lyle Steelman Assistant Principal Trumpet

Paul Yancich

PRINCI C PAL TIMPANI

Michael Miller CELLO Richard Weiss First Assistant Principal

David Alan Harrell BASS Mark Atherton HARP Trina Struble

Trumpet

Shachar Israel Assistant Principal Trombone

Yasuhito Sugiyama Principal Tuba

PERCUSSION Thomas Sherwood Percussion

Principal

22

About the Music

SEVERANCE HALL

Concerto for Orchestra by :LWROG /XWRVâDZVNL composed 1950-54

T

H E 2 0 T H C E N T U R Y was a wild and contentious

journey for music as a language. All kinds of ideas — about tonality, harmony, melody, structure, pleasantness, harshness, noise, silence, repetition, reclamation — were stretched, broken, replaced, and reborn.

New kinds of music flourished. New categories were Witold created, blossomed, grew in popularity or faded into /8726á$:6., obscurity. Experimentation and change was taking place across all areas of music — popular and classical. born January 25, 1913 in Warsaw, Poland Only now, in retrospect looking back, can we begin to understand the direction and true highlights died February 7, 1994 of music’s journey in the past hundred years. In doing in Warsaw so, some voices stand out, as unique artists of lasting quality, whose ideas (and music) stand the test of time.

One of these is Witold Lutosławski, born in Poland in 1913 on the eve of the First World War. In today’s new century, we can appreciate (and hear) the real musicianship and soul that helped him to create music of lasting quality, without empty gimmickry or copy-cat tendencies. His was a voice of real talent and universal, long-term appeal.

History and happenstance and context change lives. Anyone born in Poland near the beginning of the last century was almost certain to face a lifetime of horrible events and suffering. Witold Lutosławski, certainly, experienced his fair share, along with so many of his compatriots. His father was executed in Moscow by the Bolsheviks in 1918; his brother died in a Soviet gulag in 1940. As a soldier, young Witold was captured by the Germans in 1939; he escaped but spent the grim war years in Warsaw and lost most of his possessions when the city was razed in 1944. He was banned from the Polish Composers Union in 1948 (for “formalist” tendencies, which is to say the authorities thought he strayed too far from writing music that was easy to understand and “normal”). Only when the Soviet grip on Poland was relaxed in 1989 did Lutosławski, in the last years of his life, enjoy full artistic freedom. He lived just long enough to watch the new, free Poland that emerged at that time.

For many years, Lutosławski was forced to play a complicated game of pleasing the authorities with music based on folksongs (for the popular market). At the same time, more quietly and somewhat behind the scenes, he was working to find his own true voice, building on new methods and ideas. Thanks to his ability to effectively network with a variety of cultural rebels, and the acceptance of some of his new works for the Warsaw Autumn, an internationally-important festival that was started in 1956, Lutosławski’s name and art finally came to the attention of musicians and audiences beyond Poland.

His First Symphony was premiered in 1948, exactly at the moment when Sovietinspired restrictions on music were being pushed forward. If a piece did not promote official ideas about “socialist realism” (including clear storytelling), it was labeled as “for-

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About the Music

23

malist” — a catch-all term of governmental scorn that covered music of any sophistication, especially symphonic music without words. For a while thereafter, Lutosławski quietly wrote functional music for films and theater, and music for children.

In 1950, the conductor Witold Rowicki suggested that Lutosławski might write something for the newly founded Warsaw Philharmonic. The composer was interested, but had to think carefully how to satisfy his own artistic instincts without running afoul of the Polish Composers’ Union, from which he had been excluded.

The work took shape over a period of four years, so that, by the time it was first performed, in November 1954, conditions had eased somewhat. For one thing, Stalin had died. And, on the other hand, Polish audiences had never been as subservient to imposed tastes as Soviet audiences. Many recognized the individuality and brilliance of the Concerto for Orchestra from the start. In any case, Lutosławski had included themes based on folksong, to help ease its acceptance in official circles. The Concerto for Orchestra was the first major work to bring Lutosławski strong recognition. His individual techniques and ideas shone through, launching him toward wider-spread fame.

To compose a piece titled Concerto for Orchestra inevitably invited comparison with the Hungarian Béla Bartók, whose Concerto for Orchestra of 1945 had quickly established itself as a modern masterpiece. Lutosławski similarly calls for a large modern orchestra and writes for an ensemble of virtuosos, with many musicians having soloistic moments.

At the same time, he easily proves how different such pieces can be, both masterful in their own ways.

The first movement is built on strong contrasts, the central section working a long forceful melody with heavy accompaniment. The ending is a beautiful reshaping of the folklike opening, with a gorgeous string chord to close.

The second movement is swift and brilliant, suggesting the same nocturnal whisperings that Bartók was fond of. The central section, called Arioso, is the very opposite — loud and coarse, with a tune banged out by trumpets. This dies down to the previous mysterious whisperings, eventually disappearing into almost inaudible rumbles and taps.

The last movement is the longest, divided into three sections. The first section is constructed on the ancient principle of the Passacaglia, by which an eight-measure pattern (introduced surreptitiously by the harp and double basses) is repeated eighteen times, gradually introducing variations and developments that involve the whole orchestra, with the basic pattern emerging forcefully in the high brass. The Toccata section that follows has a jolly, playful character. Finally, a chorale is heard, first on oboes and clarinets, then in the brass, then on muted strings. From there to the end, the music is a display of orchestral virtuosity drawing together themes we have already heard and leaving no question of the orchestra’s capabilities or of the composer’s mastery of his craft.

Performance Time: 30 minutes

PROGRAM NOTES BY ERIC SELLEN AND HUGH MACDONALD © 2018.

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About the Music

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 Sibbi Bernhardson 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 VIOLA TEACHERS Lisa Boyko* Jeffrey Irvine Eva Kennedy Laura Shuster Ann Smith Louise Zeitlin 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*

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BASS TEACHERS Ann Gilbert Tracy Rowell Bryan Thomas Chris Vance FLUTE TEACHERS Linda Miller Angie Ro Saeran St. Christopher* Rae Yeager OBOE TEACHERS Jeffrey Rathbun* Danna Sundet Cynthia Watson Craig Wohlschlager CLARINET TEACHERS Jenny Magistrelli Tracy Peroubek Thomas Tweedle Amitai Vardi BASSOON TEACHERS Renee Dee Mark DeMio Andrew Machamer

TROMBONE TEACHERS James Albrecht Jason Hadgis Jason Smith TUBA TEACHERS Yasuhito Sugiyama* PERCUSSION TEACHERS Ryun Louie Luke Rinderknecht Thomas Sherwood* Brian Sweigart HARP TEACHERS Xiao Lei Salovara KEYBOARD TEACHERS Nancy Bachus

* Member of The Cleveland Orchestra ** Retired member of The Cleveland Orchestra

HORN TEACHERS Hans Clebsch* Meghan Guegold Melinda Kellerstrass Van Parker TRUMPET TEACHERS Ken Holzworth Michael Miller* Loren Toplitz

Appreciation

25

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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

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Severance Hall

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Bachelor of Music (BM) Music Composition Music History & Literature Music Performance: Keyboard, Strings, Voice, Brass, Percussion Music Theatre Music Theory Music Therapy

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