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

March 3, 2O19 Severance Hall

2O18 SEASON 2O19

   

CarnegieMellonMusic @CMUmusic cmumusic CarnegieMellonMusic

MUSIC.CMU.EDU

Prelude Concert

Sunday evening, March 3, 2019, at 6:00 p. m.

Concert Hall at Severance 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 ensembles represent our pioneering Advanced Performance Seminar program, in which Cleveland Orchestra coaches also perform in the chamber ensembles with Youth Orchestra students. Coaches are denoted with (*) next to their name.

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

antonín dvořák (1841-1904)

from String Quartet No. 12 (“American”) in F major, Opus 96

1. Allegro non troppo

Kaylee Bontrager, violin Sonja Braaten Molloy, viola* Alison Chan, violin Theodora Bowne, cello

dmitri shostakovich (1906-1975)

from String Quartet No. 8 in C minor, Opus 110

2. Allegro molto 3. Allegretto

Yun-Ting Lee, violin* Ginger Deppman, viola Alex Zhu, violin Katarina Davies, cello

franz schubert (1797-1828)

from Death and the Maiden: String Quartet No. 14 in D minor, D.810

1. Allegro

Moonhee Kim, violin Miho Hashizume, viola* Lizzy Huang, violin Ania Lewis, cello

Cleveland Orchestra Youth Chorus Chamber Ensemble (participating members are notated in the roster listing on page 13)

daniel gawthrop (b. 1949)

Sing Me to Heaven

thomas morley (ca. 1557-1602)

Fire, Fire, My Heart

conducted by Adam Landry, assistant director

SEVERANCE HALL

Prelude Concert

3

1986

1OO 2

More than 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. They travel to Europe again in June 2019 for their third international tour.

1500 YOUNG MUSICIANS

Four members of COYO are currently members of The Cleveland Orchestra, after college training and having won an audition.

1500 aspiring young musicians have been members of the Cleveland Orchestra Youth Orch­ estra in its first three decades, learning together as an ensemble the ways and workings of a professional orchestra.

COYO has performed over 200 concerts, including a series of three concerts each year at Severance Hall, plus performances in communities throughout Northeast Ohio, and on concert tour.

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.

15

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

CLEVELAND ORCHESTRA

Youth Chorus .

DA N I E L S I N G E R

D I R E C TO R

Sunday evening, March 3, 2019, at 7:00 p. m.

Severance Hall — Cleveland, Ohio Vinay Parameswaran, conductor

johannes brahms

claude debussy

Tragic Overture, Opus 81

2O18 SEASON 2O19

(1833-1897)

Ibéria, from Images

(1862-1918)

1. In the Streets and Byways 2. The Fragrances of the Night 3. The Morning of a Festival Day

INTERMISSION

f. joseph haydn (1732-1809)

ralph vaughan williams

(1872-1958)

Te Deum for the Empress Maria Therese (for chorus and orchestra)

Five Mystical Songs

(for baritone soloist, chorus, and orchestra)

1.

2.

3.

4.

5.

Easter I Got Me Flowers Love Bade Me Welcome The Call Antiphon

ALEXANDER ELLIOTT, baritone

live radio broadcast tonight

This evening’s performance is being broadcast live on WCLV (104.9 FM).

The concert will be rebroadcast as part of regular weekly programming on WCLV, on Saturday, April 20, at 8:00 p.m. and Sunday, June 2, at 4:00 p.m.

SEVERANCE HALL

Concert Program

5

CLEVELAND ORCHESTRA

Youth Orchestra .

V I N AY PA R A M E S WA R A N FIRST VIOLIN Wenlan Jackson CONCERTMASTER Home schooled

Célina Bethoux

ASSISTANT CONCERTMASTER Home schooled

M U S I C D I R EC TO R CELLO Zach Keum

Alexandra Xuan

PRINCIPAL University School

Lake High School

Christina Bencin

Oberlin High School

Faith Geho

Christine Shih

Claudia Hamilton

Annie Zhang

Moonhee Kim

Erica Nie

Kamryn McCrory

Beachwood High School

Samantha Ma

Revere High School

Neige DeAngelis

Hathaway Brown School

Alex Zhu

Lauren Hertzer

Chagrin Falls High School

David Cho

Westlake High School

Katarina Davies

Oberlin High School

Theodora Bowne

Western Reserve Academy

Helena Norman

Westlake High School

Anna Goldberg

Hawken School

Adam Ryan

Alison Chan

Solon High School

Enzo Zhou

Lea Kim

Claire Schmeller

Medina High School

Nathan Hsiao

Firelands High School

Moshi Tang

Nathan Hammond Tal Yankevich

Beachwood High School

Rachel Mancini

Brunswick High School

Hansen Song

Chagrin Falls High School

Richard Jiang

Solon High School

Safe Jassani

Lakewood High School

VIOLA Mikel Rollet

PRINCIPAL Ohio Virtual Academy

Alana Melvin

Brunswick High School

SECOND VIOLIN Kai Bryngelson

Sandy Shen

Owen Lockwood

Gunnar Brennecke

PRINCIPAL Ohio Connections Academy ASSISTANT PRINCIPAL Shaker Heights High School

Julia Schilz

Hathaway Brown School

Lizzy Huang

Shaker Heights High School

Solon High School

Ginger Deppman Oberlin High School Home schooled

Charlotte Lo

Hudson High School Home schooled

OBOE Amelia Johnson

Shaker Heights High School

Victoria Schaefer H

Hudson High School

Leo Sherwood V

Laurel School

Zach Walker B

Hudson High School

Amanda Withrow D

Shaker Heights High School

Solon High School

Manchester High School Eastwood High School

CLARINET Rachel Beil V

Canfield High School

BASS Maxwell Moses

PRINCIPAL Elyria High School

Jamie Park

ASSISTANT PRINCIPAL Beachwood High School

Jacqueline Marshall

Namjun Cho B

Hudson High School

Amelia Martens

Westlake High School

Lauren Thomas V

Kenston High School

Katherine Wang D

Hathaway Brown School

Laurel School

Michael Yuhos

Hudson High School

BASSOON Izzy Ergh D

Mentor High School

Josh Prunty B

Mentor High School

Emily Schrembeck H, V

Damian Rutti

Kristen Nedza

Hawken School

Cirrus Rowland-Seymour

Hudson High School Hudson High School

Cuyahoga Falls High School

Walsh Jesuit High School

Mark Yost

Ayano Nakamura

Bay High School

Matthew Kwok

Shaker Heights High School

Mitchell Likovetz

PICCOLO Annettte Lee B Kayleigh Fisher Vardaan Shah D

Shaker Heights High School

Natalie Brennecke ASSISTANT PRINCIPAL Home schooled

Cleveland Heights High School

Cleveland School of the Arts

Brecksville-Broadview Heights High School

Solon Middle School

Strongsville High School

Lily Waugh B

Ohio Connections Academy

Hawken School

Cole Hoff

Vardaan Shah H

Twinsburg High School

Hudson High School

Wendi Song

Solon High School

ASSISTANT PRINCIPAL Gilmour Academy

Andrew Hu

Dublin Jerome High School

Kenston High School

Annettte Lee D

Ania Lewis

Chagrin Falls Middle School

Maya Schane

Kaylee Bontrager

Central Christian High School

FLUTE Kayleigh Fisher V

Jorge Gonzalez

Shaker Heights High School

JoHanna Arnold

Fairview High School

Copley-Fairlawn High School Midview High School Lake High School

CONTRABASSOON Allen Jiang D**

Please note that Brahms’s Tragic Overture is part of the repertoire for the Youth Orchestra’s 2019 European Tour in June, with different string seating from the rest of today’s concert.

Tour seating will be reflected in the printed roster for the Tour Send-off concert on June 7.

6

Youth Orchestra

2 018 - 19 S E A S O N

2O18 SEASON 2O19 HORN Sophie Calabrese B

TROMBONE Felicia Goggins

PERCUSSION Alexa Clawson James Kregenow

Home schooled

Derek Gullett B

Bay High School

Juyoung Lee D

Ian Marr Brian Randall

Gilmour Academy

Ryan Yonek

Shaker Heights High School

Nicolas Haynes

Lauren Jensen D Angeline Monitello V Maria Scotto Di Uccio

Firestone Community Learning Center Lake High School Westlake High School V

Brunswick High School

Howland High School

Alex Yonek H

Brunswick High School

TRUMPET Xan Denker B

TUBA Will Bowers D

Kenston High School

KEYBOARD Wending Wu D, H

HARP Anastasia Seckers D, V

Stow Munrow High School

Natalie Man D**

Lakewood High School

Twinsburg High School

Kira Marjanovic D Nick McGan H

TIMPANI Nicole Buckland D

Brett Nickolette V

Alexa Clawson H

Lakewood High School Avon High School

Avon Lake High School

LIBRARIAN Austin Land

Hudson High School

Cuyahoga Falls High School

Nick Kusic B, V

MANAGER Lauren Generette

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

PRINCIPAL PLAYERS B = Brahms D = Debussy H = Haydn V = Vaughan Williams ** = extra/substitute musician

Medina High School

Shaker Heights High School

Ian Marr V

Shaker Heights High School

Brian Randall B

Firestone Community Learning Center

The Cleveland Orchestra Youth Orchestra is supported by a grant from the Martha Holden Jennings Foundation.

Endowed Funds The future of classical music shines brightly through the talented young musicians of the Cleveland Orchestra Youth Orchestra. A gift to The Cleveland Orchestra’s endowment in support of the Youth Orchestra is a wonderful way to show your commitment to the future of this important program while providing vital funding for The Cleveland Orchestra.

In addition to the endowed musicians’ chairs listed at right, created by supportive donors, The George Gund Foundation has made a generous gift to the Orchestra’s endowment in support of the Youth Orchestra, the estate of Jules and Ruth Vinney has generously endowed a Touring Fund to support the Youth Orch­estra’s performances beyond Northeast Ohio, and Christine Gitlin Miles has made a generous planned gift to honor Jahja Ling, founding music director of the Youth Orchestra.

SEVERANCE HALL

Youth Orchestra

The following seven endowed Youth Orchestra chairs have been created in recognition of generous gifts to The Cleveland Orchestra’s endowment: Concertmaster, Daniel Majeske Memorial Chair Principal Cello, Barbara P. and Alan S. Geismer Chair Principal Bass, Anthony F. Knight Memorial Chair Principal Flute, Virginia S. Jones Memorial Chair Piccolo, Patience Cameron Hoskins Chair Principal Harp, Norma Battes Chair Principal Keyboard, Victor C. Laughlin M.D. Memorial Chair

For more information about how you can support the Youth Orchestra through an endowed chair or fund, please contact The Cleveland Orchestra’s Development Office by calling 216-231-8006.

7

CLEVELAND ORCHESTRA

Youth Orchestra .

P H OTO BY R O G E R MA S T R O I A N N I

V I N AY PA R A M E S WA R A N

T H E 2 01 8 -1 9 S E A S O N marks the

Cleveland Orchestra Youth Orchestra’s 33rd season and the second year under the direction of Vinay Parameswaran. The Cleveland Orchestra Youth Orchestra is one of the Northeast Ohio’s premier musical destinations for aspiring student musicians — and one of the most acclaimed youth orchestras in the United States. Since its inaugural performance in 1987, the Youth Orchestra has performed more than 200 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

8

M U S I C D I R EC 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, and a third in June 2019 will take the ensemble to Europe.

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, with Severance Hall concert broadcasts on Cleveland’s classical music station WCLV (www.wclv.org).

2 018 - 19 S E A S O N

Steven Smith 1998-2003

James Gaffigan 2003-2006

Jayce Ogren 2006-2009

James Feddeck 2009-2013

Brett Mitchell 2013-2017

Vinay Parameswaran from 2017

AUDITIONS for the Cleveland Orchestra Youth Orchestra’s 2019-20 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. The application deadline is Friday, March 29. Questions? Call 216-231-7352 or write to coyo@clevelandorchestra.com.

Cleveland Orchestra Youth Orchestra

9

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P H OTO BY R O G E R MA S T R O I A N N I

Vinay Parameswaran

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 8 - 1 9 S E A S O N marks

Vinay Parameswaran’s second 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, and his contract in both positions was recently extended through the 2020-21 season.

Mr. Parameswaran came 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. Recent seasons have included Mr. Parameswaran making 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 Piev. Other recent engagements have included debuts with the National Symphony Orchestra, Milwaukee Symphony, Jacksonville Symphony, Eugene Symphony, and the Vermont Symphony Orchestra.

2 018 - 19 S E A S O N

In addition to his concert work, Mr. Parameswaran has led performances of 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 percussion 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, where 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

11

DEGREES

Hugh A. Glauser School of Music

Bachelors Masters Doctorate

PROGRAMS Music Education Performance Conducting Ethnomusicology Music Theory/Composition Dr. Jungho Kim Director of Orchestra

All programs are accredited by the National Association of Schools of Music.

ORCHESTRA

AT

KENT STATE

FACULTY

Our highly skilled and dedicated teaching faculty are consumate performers, appearing with groups such as The Cleveland Orchestra*, Erie Philharmonic, Miami String Quartet, Blue Water Chamber Orchestra and more.

Home of the Kent Blossom Music Festival.

WOODWINDS

Diane McCloskey Rechner | flute Danna Sundet | oboe Amitai Vardi | clarinet Mark DeMio | bassoon Noa Even | saxophone

STRINGS

Jung-Min Amy Lee | violin* Cathy Meng Robinson | violin Joanna Patterson Zakany | viola* Keith Robinson | cello Bryan Thomas | double bass

BRASS

Kent Larmee | horn Michael Chunn | trumpet David Mitchell | trombone Ken Heinlein | tuba

PERCUSSION Matthew Holm

ADMISSIONS AND AUDITIONS GRADUATE ADMISSIONS

AUDITIONS AND ADMISSIONS

COURSES AND TRANSFER

Michael Chunn Graduate Coordinator

Jesse Leyva Recruitment Coordinator

Dana Brown Assistant to the Director

mchunn@kent.edu

jleyva@kent.edu

dabrown@kent.edu

SCHOLARSHIPS AND GRADUATE ASSISTANTSHIPS AVAILABLE! 12

SEVERANCE HALL WWW.KENT.EDU/MUSIC | 330-672-2172

CLEVELAND ORCHESTRA

Youth Chorus .

DA N I E L S I N G E R

Tadj Adams

Hawken School

Yasmin Ahuja

Hathaway Brown School

Autumn L. Airey

Newbury High School

Maria Avila

Aurora High School

Leah Benko

Lakeland Community College (CCP)

Samuel Blocker* University School

Noah C. Brock

University School

Anna Buescher

Chagrin Falls High School

Gregory Bullis

Newbury High School

Jonah Chapman-Sung

Shaker Heights High School

Katelyne Crouch

Lydia Greer

Brecksville-Broadview Heights High School

Alyse Hancock-Phillips* Berea-Midpark High School

Zoe Hartz

Hawken School

Lizzie Heiner

Twinsburg High School

Maria Dameworth Hisey Jackson High School

Seth Hobi*

Lakeland Community College (CCP)

Jack Howley

Mentor High School

Fisher Ilijasic

Shaker Heights High School

Elizabeth Javorsky* Laurel School

Joe Kaffen

Shaker Heights High School

Pymatuning Valley High School

Sohum Kapadia*

Ashley Cvetichan

Eleni Karnavas*

Mentor High School

Sasha Desberg*

Revere Local High School

Jade Domos*

Aurora High School

Taniya Dsouza*

Gilmour Academy

D I R E C TO R

University School

Independence High School

Megan Kim

Westlake High School

Rachel Kovatich

Strongsville High School

Bridget Lee

Hawken School

Catherine Martin

Eva Shepard*

Zhane McCorvey

Jackson Slater

Laurel School

Maple Heights High School

Grace Mino*

Highland High School

Abigail Moore*

West Geauga High School

Amelia Morra*

Orange High School

Nathan Niedzwiecki Home Schooled

Mentor High School

Devin Oates

Hudson High School

Laura Obergefell

Lake Catholic High School

Antony Peng

Desha M. Perera

Twinsburg High School

Megan Qiang

Hathaway Brown School

Victoria Rasnick*

Strongsville High School

Emma Violet Rosberil* Saint Joseph Academy

Shira Rosenberg

Hathaway Brown School

Diana Lucic

Josh Shearer*

Spencer Fortney

Grace Maicki

Abby Golden*

Sarah Malarney

Mariana Gomez*

Krish Malte

Zoey Grandstaff

Annamarie Martin

Kirtland High School Avon Lake High School The Lyceum

Riverside High School

Perry High School

Soren J. Stavnicky Mentor High School

Michael Stupecki* Natalie Surdy

Bay Village High School

Connie Tian

Lake Ridge Academy

Amy Wang

Solon High School Strongsville High School

Kira Weaver

Fairview High School

Devan Welch

Mentor High School

Brooke Wightman

Highland High School

Charles C. Williams IV Strongsville High School

Garrett A. Wineberg*

West Geauga High School, Lakeland Community College (CCP)

Mentor High School

Evgenia Evdokimenko

Mentor High School

Kenston High School

Madelaine Snively

Audrie Ryan

Somiya Schirokauer

Solon High School

Emma Smith

Ronell Warmuth*

University School

Katy Lessick*

Chardon High School

Cuyahoga Valley Christian Academy

Highland High School

Charlie Nykiel*

Alex Dutton

Riverside High School

Kirtland High School

Shaker Heights High School

Hawken School Laurel School

Lakewood High School

* denotes member of

the Chamber Chorus performing on the Prelude Concert (see page 3).

University School Gilmour Academy

DIRECTOR Daniel Singer 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

2 018 - 19 S E A S O N

Youth Chorus

13

Directors of the

Cleveland Orchestra YOUTH CHORUS Gareth Morrell 1991-1998

Betsy Burleigh 1998-2006

Frank Bianchi 2006-2012 T H E 2 0 1 8 - 1 9 S E A S O N marks the

Cleveland Orchestra Youth Chorus’s 28th 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 Orch­ estra Youth Chorus are selected through competitive auditions held each spring. This season, the members represent more than fifty schools and communities from ten 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

Lisa Wong 2012-2017

Daniel Singer 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 many alumni sing today as adult 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 Assistant Director Cleveland Orchestra Youth Chorus

Director Cleveland Orchestra Youth Chorus 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 director of the Youth Chorus with 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. Mr. 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. He is also an arranger and composer, having written for choral and instrumental groups throughout the United States.

Prior to coming to Ohio, Daniel 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.

2 018 - 19 S E A S O N

Youth Chorus: Directors

Adam Landry became assistant director of the Cleveland Orchestra Youth Chorus with 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 2019-20 Season will take place on June 2, June 13, and September 7, by appointment only.

Auditions are open to students entering grades 9-12 in the fall of 2019, 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.coyc.cochorus.com.

15

Tragic Overture, Opus 81

by Johannes Brahms composed 1880

A

F T E R C O M P L E T I N G T H I S OV E R T U R E ,

Brahms was apparently not sure what to call it.

The work had first been sketched in the late 1860s, but Brahms did not take it up in earnest until 1880. Clearly he wished to write a companion piece to his Academic Festival Overture, written earlier that year, which was Johannes light (even humorous) in tone, and contained arrangements of some well-known German student songs.

BRAHMS

By contrast, the new overture, in the dramatborn May 7, 1833 ic key of D minor, is more serious. As Brahms wrote in Hamburg, Germany in one of his letters: “One overture laughs, the other died April 3, 1897 weeps.” in Vienna, Austria

This does not mean, however, that the overture is as deeply tragic as, say, the first movements of Brahms’s own First Symphony or his First Piano Concerto, and it is probable that Brahms didn’t even think Tragic Overture was the best title for the work. But evidently he couldn’t find a more suitable one, and so he settled on “tragic,” a word that, after all, also implied that the overture might be performed in the theater as a prelude to a classical tragedy (perhaps, as Brahms biographer Karl Geiringer once suggested, for Goethe’s Faust). There are no direct programmatic references to any literary works; yet the solemn dramatic tone of the overture makes it entirely appropriate for theatrical use.

In this overture, we hear three distinct thematic groups: one is dynamic and energetic, the next is melodic and lyrical, and the third mysterious, with orchestral colors playing a more important role than themes. The three groups are arranged into an early type of sonata form used mostly in the 18th century, with no separate development section. Instead, the exposition is immediately followed by the recapitulation (with a few elements of development). In other words, we basically hear the same sequence of three themes twice in a row, with modifications. As each of the three thematic groups passes through various tonalities and tempos, and undergoes transformations of many other sorts, it is in fact as though we were witnessing a stage drama — a drama that ends with a final surprise when soft and subdued musical material is suddenly heard forte and then fortissimo.

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About the Music

Performance Time: 10 minutes

17

Ibéria, from Images

by Claude Debussy composed 1908

F

R E N C H M U S I C I A N S have often been inspired

by the rhythms of Spanish music, at least since the time of Bizet’s Carmen in 1875. Two composers from the generation preceding Debussy in particular owed their fame to their “Spanish” compositions. Édouard Lalo’s Symphonie espagnole (1875) and Emmanuel Chabrier’s Claude España (1883) must have been familiar to the young DeDEBUSSY bussy, who himself wrote the piano piece La soirée dans Grenade (“Evening in Grenada”) in 1903. born August 22, 1862

It is interesting to note that, aside from one short in Saint-Germain-en-Laye trip across the border, Debussy never visited Spain. died March 25, 1918 Evenso, he knew the music of a number of contemporary in Paris Spanish composers, including Manuel de Falla and Isaac Albéniz. (The latter had used the title “Iberia” in a magnificent suite for piano published in four volumes between 1906 and 1908.) Falla had warm words of praise for Debussy’s Ibéria, which he claimed had “a considerable and decisive influence on young Spanish composers.”

The first section of Ibéria, titled Par les rues et par les chemins (“In the Streets and Byways”), creates an immediate Spanish atmosphere with the sound of the castanets.

The whole town is out in the streets on a warm summer evening. People are walking, talking, singing, and dancing. The clarinets play a dance tune marked by the composer as “elegant and rhythmic” and harmonized with parallel chords, one of Debussy’s recurrent techniques. Later, an equally cheerful second theme is heard in the horns and clarinets, soon combined with a third melody which, in contrast, is more lyrical and expressive in character. The first theme with the castanet accompaniment finally returns (now played by the oboes instead of the clarinets). At last, the noisy parade is over; the people go home and the movement ends pianissimo.

The second section is called Les parfums de la nuit (“The Fragrances of the Night”). Falla perceived in Debussy’s music “the intoxicating spell of Andalusian nights” — and Falla would have known, as he was born in that province of Spain. Several factors contribute to the magic of this movement. First, Debussy’s virtuosic orchestration makes a sophisticated use of divided strings (at one point, the first violins are split into seven different groups, all playing with special techniques such as glissandos and harmonics). The celesta part is every bit as “celestial” as the instrument’s name. The chords are again “parallel,” with every part moving by the same interval regardless of keys. As a result, we get what is often called the “whole-tone scale” (C, D, E, F-sharp, G-sharp, A-sharp), in which each of the six steps is a whole step higher than the preceding one (with no half-steps). This scale is incompatible with the traditional Western major-minor system, which is dependent on the half-step as a critical difference in scalar sequences. Because its degrees are equidistant, they are all equally important, and any note can serve as a temporary or permanent resting point. This gives the mu-

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About the Music

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sic a sense of hovering in the air, or of never touching the ground or reaching a clear closure.

The third section of Ibéria, called Le matin d’un jour de fête (“The Morning of a Festival Day”) follows upon the night without interruption. As the day begins to break, we hear the distant sound of a drum along with some soft string pizzicatos [“plucked”]. The night music returns for a moment in the form of a three-measure flute solo. The violins and violas imitate the sound of guitars — Debussy’s score even instructs half the players to hold their instruments like guitars. The clarinets play their solo “very cheerfully, exaggerating the accents.” The violin solo, full of double stops, must be “free and whimsical” (libre et fantasque); the oboe and english horn parts are marked “merry and whimsical” (gai et fantasque).

According to correspondence with his publisher, Debussy had some difficulty choosing from three different ways of ending the piece. “Shall I toss up between them,” Debussy wrote, “or try to find a fourth solution?” He finally opted for a big crescendo, “brisk and vigorous” (vif et nerveux); the last word belongs to the trombones, which cap the piece with a stupendous, sliding three-part glissando.

Performance Time: 20 minutes

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director Lisa Wong, Director of Choruses

Cleveland Orchestra Youth Orchestra Vinay Parameswaran, Music Director Cleveland Orchestra Youth Chorus Daniel Singer, Director Adam Landry, Assistant Director

Richard K. Smucker, Board Chair André Gremillet, President & CEO

2O18 SEASON 2O19

Cleveland Orchestra Children’s Chorus Ann Usher, Director Suzanne Walters, Assistant Director Education and Community Programs Joan Katz Napoli, Senior Director Sandra Jones, Manager, Education and Family Concerts Lauren Generette, Manager, Cleveland Orchestra Youth Orchestra Mollibeth Cox, Manager, Community and Learning Programs Sarah Lamb, Manager, Community Engagement Austin Land, Artistic/Operations Coordinator, Youth Orchestra and Education Programs Courtney Gazda, Coordinator, Education and Community Programs

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About the Music

19

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 encouraging and developing musical skills.

Sarah Dixon, Aurora High School Aaron Jacobs, Avon High School David Eddleman and Michael Lisi, Avon Lake High School Darren Allen and Devon Gess, Bay High School Lisa Goldman, Beachwood High School Catherine Robison Ranney, Berea-Midpark High School Steven Cocchiola and Emily Garlock, Brecksville-Broadview Heights High School Valerie Roman and Jay Wardeska, Brunswick High School Michael Kelly, Canfield High School Lara Dudack, Central Christian School Nathan Bachofsky and Kendra Karriker, Chagrin Falls Middle School and High School Fritz Streiff, Chardon High School Brett Baker, Cleveland Heights High School Dianna Richardson, Cleveland School of the Arts Michael Foster, Copley-Fairlawn High School Dustin Harris, Cuyahoga Falls High School Jennifer Moore, Cuyahoga Valley Christian Michelle Adair, Dublin Jerome High School Brian Myers, Eastwood High School Hillery Needham and David Pope, Elyria High School Chrissy Karliak and Hillery Needham, Fairview High School Dustin Wiley, Firelands High School Katherine Ferguson, Firestone CLC Caroline Holtz and David Kilkenney, Gilmour Academy Linda Simon-Mietus and Laura Webster, Hathaway Brown School Liesl Langmack, Jodie Ricci, and Jessica Sherwood, Hawken School Christopher Ilg, Highland High School Greg Rezabek, Howland High School Roberto Iriarte, Jacob Moore, and Beverly O’Connor, Hudson High School Gretchen Obrovac, Independence High School Scott Eversdyke, Jackson High School Julia Green and Jeff Link, Kenston High School

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Suzanna Adkins, Kirtland High School Scott Posey, Lake Catholic High School Jared Cooey and Arleen Scott, Lake High School Todd Christopher, Lake Ridge Academy Rayna Brooks, Elizabeth Hankins, and Julie Tabaj, Lakewood Middle and High Schools Joel McDaniel, Laurel School Mark Langley, The Lyceum Michelle Bagwell, Manchester High School Jonea Patton, Maple Heights 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 Alissa Bodner, Newbury High School Audrey Melzer, Oberlin High School Paula G. Snyder, Orange High School Elizabeth Singer, Perry High School Taylor Brown, Pymatuning Valley High School Darren LeBeau, Revere Local High School Glenn Obergefell, Riverside High School Kathleen Cooper, Saint Joseph Academy Mario Clopton-Zymler, William Hughes, and Donna Jelen, Shaker Heights High School Gary Lewis, Gerald MacDougall, and Mark Mauldin, Solon High School Gregory Newman, Stow Munroe Falls High School Vickie Eicher, Andrew Hire, Brian King, and Elena Taylor, Strongsville High School Ryan Bonitz, Damon Conn, and Randall Lanoue, Twinsburg High School Daniel Singer, University School David Banks, Walsh Jesuit High School Melanie Kennedy, West Geauga High School Margaret Karam, Western Reserve Academy Hilary Patriok, Westlake High School Jennifer Butler, Westlake High School Academy

Appreciation

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of artistry and scholarship with deep musicianship skills and entrepreneurial savvy. Eastman graduates emerge as leaders in their respective fields, create their own professional opportunities, and shape the future of music.

For application information visit esm.rochester.edu/admissions

Youth Orchestra Coaching Staff These members of The Cleveland Orchestra are serving as coaches for the Cleveland Orchestra Youth Orchestra.

VIOLIN Peter Otto

WOODWIND John Rautenberg

Kathleen Collins

Jeffrey Rathbun

First Associate Concertmaster

VIOLA Stanley Konopka Assistant Principal

CELLO Richard Weiss

First Assistant Principal

David Alan Harrell BASS Mark Atherton HARP Trina Struble Principal

KEYBOARD Joela Jones

Flute Emeritus

Principal

Assistant Principal Oboe

Robert Woolfrey Clarinet

Jonathan Sherwin

Bassoon / Contrabassoon

BRASS Hans Clebsch Horn

Lyle Steelman

Assistant Principal Trumpet

Michael Miller Trumpet

Shachar Israel

Assistant Principal Trombone

Yasuhito Sugiyama Principal Tuba

EMERITUS COACHES Erich Eichhorn violin emeritus Yoko Moore violin emeritus Catharina Meints Caldwell cello emeritus Martin Flowerman bass emeritus Phillip Austin bassoon emeritus James DeSano trombone emeritus With Special Thanks To Robert O’Brien librarian

PERCUSSION Thomas Sherwood Percussion

It is with a deep sense of both gratitude and loss that the Cleveland Orchestra Youth Orchestra pays special tribute to Richard Weiner, The Cleveland Orchestra’s princpal percussion emeritus, who died at the end of 2018 at age 82. Rich served as a coach since the Youth Orchestra’s founding, generously giving his expertise to new generations for 32 seasons.

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Appreciation

SEVERANCE HALL

Te Deum for the Empress Maria Therese

by Joseph Haydn

composed 1799-1800

B

E T W E E N 1796 and 1802, Haydn wrote a new

Mass every year for Princess Esterházy’s nameday. Approaching his seventieth year, the composer was enjoying worldwide celebrity. He was no longer writing symphonies — and had almost given up creating new string quartets as well. On his trips to London, he had been deeply stirred by the oratorios written

by Handel half a century earlier. As an acknowledged F. Joseph master of instrumental music, Haydn concentrated his HAYDN efforts on choral works, using Handel as a model and creating this single setting of the Te Deum amid a seborn March 31, 1732 in Rohrau, Austria ries of six Masses.

The Te Deum was commissioned not by his own died May 31, 1809 Esterházy patrons (for whom he had worked for dein Vienna cades), but by the Empress Maria Therese, second wife (and first cousin) of the Holy Roman Emperor Franz II. Franz II spent his initial years as Emperor attempting to ward off Napoleon’s constant aggression. Maria Therese, the daughter of the King of Naples and Sicily, was described as easy-going with a sensuous appearance. She loved masquerades and carnivals, and participated in every ball. She is reputed to have been so jealous that she did not allow her husband to take part in social life or meet other women. Although she was gifted and charitable, her treatment of her husband was considered excessively possessive in an age when spouses were not expected to be particularly close.

Maria Therese admired Haydn (as almost everyone did at the time) and would have commissioned more works from him if his patron Prince Esterházy had allowed.

She acquired a number of scores by Haydn, including a full Mass that he had written in 1799 and for which she sang as the soprano soloist at its premiere; that work was later nicknamed the “Theresienmesse,” even though she had not commissioned it.

In return for permitting Haydn to compose the Te Deum for the Empress, the first performance took place not in Vienna but at the Esterházy country palace estate at Eisenstadt in Austria in the early autumn of 1800. According to stories from the time, it was performed in honor of two distinguished English visitors to Eisenstadt, Admiral Nelson and Lady Hamilton.

In this work, Haydn’s setting of the Latin text is brisk and businesslike. Always regarded as a hymn of celebration, the Te Deum’s character is reinforced here by the solid unison with which the chorus begins. Unlike in Haydn’s Masses, no soloists are required, so the chorus sings the full text in a single movement divided into three sections. These correspond in many ways to the three movements of a classical concerto, with a slow section in the middle that begins with the words “Te ergo quaesumus,” a moment of humble prayer.

The music throughout much of the work displays a positive spirit, with a vivid

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About the Music

23

suggestion of the torment of hell toward the very end, at “Non confundar in aeternum” [“May I never be confounded”]. Those words are first introduced a little earlier in a vigorous double fugue, which has the sopranos leading off with “In te Domine speravi” while the altos respond with “Non confundar” on a countersubject. The two subjects are worked out against one another in exuberant style, as in some of Handel’s splendid choruses.

Performance Time: 10 minutes

Empress Maria Therese of Naples and Sicily in a painting by Louise Élizabeth Vigée Le Brun from 1772.

Te Deum for Empress Maria Therese music by F. JOSEPH HAYDN

Te Deum laudámus, te Dominum confitémur.

Te aetérnum Patrem omnis terra venerátur.

Tibi omnes Angeli; tibi caeli et univérsae Potestátes.

Tibi Chérubim et Séraphim incessábili voce proclámant: Sanctus, Sanctus, Sanctus, Dóminus Deus Sábaoth.

Pleni sunt caeli et terra majestátis glóriae tuae.

We praise you, O God, we acknowledge you to be the Lord.

All the earth worships you, the Father everlasting.

To you all Angels cry aloud; the Heavens, and all the Powers.

To you Cherubim and Seraphim proclaim without ceasing; Holy, Holy, Holy, Lord God of Hosts; Heaven and earth are full of the Majesty of your glory.

Te gloriósus Apostolórum chorus; te Prophetárum laudábilis númerus; te Mártyrum candidátus laudat exércitus. te per orbem terrárum sancta confitétur Ecclésia;

The glorious chorus of the Apostles, the admirable company of the Prophets, the noble army of Martyrs praises you, across the whole world the Holy Church praises you;

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About the Music

SEVERANCE HALL

Patrem imménsae majestátis, Venerándum tuum verum et únicum Fílium, Sanctum quoque Paráclitum Spíritum.

the Father of infinite Majesty, your honorable, true, and only Son, as well as the Holy Spirit, our advocate.

Tu Rex glóriae, Christe.

Tu Patris sempitérnus es Fílius.

Tu ad liberándum susceptúrus hóminem, non horruísti Vírginis úterum.

Tu devícto mortis acúleo, aperuísti credéntibus regna caelórum.

Tu ad déxteram Dei sedes, in glória Patris.

Judex créderis esse ventúrus.

You are the King of Glory, O Christ.

You are the everlasting Son of the Father.

To deliver us, you became human, without distaining the Virgin’s womb.

You overcame the sharpness of death, opening Heaven’s Kingdom to all believers.

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

We believe you shall come to be our Judge.

Te ergo quaesumus, fámulis tuis súbveni, quos pretióso sánguine redemísti.

Aetérna fac cum Sanctis tuis in glória numerári.

Therefore, we beseech you, to help your servants, whom you have redeemed with precious blood.

Allow them to be counted among your Saints in glory everlasting.

Salvum fac pópulum tuum, Dómine, et bénedic haereditáti tuae.

Et rege eos, et extólle illos usque in aetérnum.

Per síngulos dies benedícimus te.

Et laudámus nomen tuum in saeculum, et in saeculum saeculi.

Dignáre, Dómine, die isto sine peccáto nos custodíre.

Miserére nostri, Dómine, miserére nostri.

Fiat misericórdia tua, Dómine, super nos, quemádmodum sperávimus in te.

In te, Dómine, sperávi; non confúndar in aetérnum.

Save your people, O Lord, and bless your heritage.

Govern them and lift them up forever.

Day by day, we magnify you; and we praise your name, and onward forever and ever.

Keep us safe, O Lord, and without sin today.

Have mercy upon us, O Lord, have mercy.

O Lord, let your mercy shine on us, because we have put our trust in you.

I have trusted you, O Lord; let me never lose my faith in you.

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Sung Text: Te Deum

25

Five Mystical Songs

by Ralph Vaughan Williams with texts by George Herbert composed 1906-11

T

H E C O M P O S E R Ralph Vaughan Williams once

professed that composers should not shut themselves up and “think of art.” Instead, composers must live among the people “and make art an expression of the whole community.”

Ralph Vaughan Williams became a towering figure durVAUGHAN ing the new flowering of British musical life that occured WILLIAMS during the first half of the 20th century. He shared international limelight with Edward Elgar and Gustav Holst, born October 12, 1872 though all three were even more revered in their home in Down Ampney, England country than foreign audiences ever understood. died August 26, 1958

Vaughan Williams spent much time with Holst in London researching, recording, and cataloging folksongs and hymns from across England. He infused many of his own works with ideas — if not outright quotes — from this vast treasure, and much of his music was praised for its atmospheric qualities, whether in nature or religion, and for the very Britishness of its voicing, whether instrumental or vocal.

Vaughan Williams claimed to be a non-believer, though one musicologist has targetedly labelled him a “Christian agnostic” for the particular flavorings of his apparent indifference to the universe’s bigger workings. He wrote a number of compositions on reglious texts, and devoted much time to setting or editing hymns. Evenso, his spiritual attitude was more mystical than formal. (His politics were also decidedly more socialist — community again — than much of the English population.)

He wrote his Five Mystical Songs to texts by the 17th-century clergyman George Herbert. Born in Wales to a well-to-do English family, Herbert schooled at Cambridge and devoted much of his life to being a smalltown cleric (including repairing and rebuilding the local church from his own funds). He wrote hymn texts and other poems, mostly of a spiritual examining life’s ideals, cycles, and uncertainties.

In 1906, Vaughan Williams turned to a collection of Herbert’s poetry looking for some song texts, eventually creating — in answer to a commission from the Three Choirs Festival five years later — the Five Mystical Songs for baritone soloist and chorus, with orchestral or keyboard accompaniment. The songs touch on nature’s beauty, alongside the wonder of God, the mystery of death, and the guaranty of Christian redemption — showing Vaughan Williams’s utter capabilities in setting the nuance and understanding of texts in whose meaning he professed not to believe. Here, there is beauty, serenity, surety, complicity, surrender, and strength.

Performance Time: 20 minutes program notes by eric sellen, peter laki, and hugh macdonald © 2019.

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About the Music

SEVERANCE HALL

Five Mystical Songs

texts by George Herbert (1593-1633), music by Ralph Vaughan Williams (1872-1958)

1. Easter Rise, heart; thy Lord is risen. Sing his praise Without delays, Who takes thee by the hand, that thou likewise With him may’st rise; That, as his death calcinèd thee to dust, His life may make thee gold, and much more, just.

Awake, my lute, and struggle for thy part With all thy art.

The cross taught all wood to resound his name Who bore the same.

His stretchèd sinews taught all strings, what key Is best to celebrate this most high day.

Consort both heart and lute, and twist a song Pleasant and long; Or since all music is but three parts vied, And multiplied; O let thy blessèd Spirit bear a part, And make up our defects with his sweet art.

2. I Got Me Flowers I got me flowers to strew thy way; I got me boughs off many a tree: But thou wast up by break of day, And brought’st thy sweets along with thee.

The Sun arising in the East, Though he give light, and the East perfume; If they should offer to contest With thy arising, they presume.

Can there be any day but this, Though many suns to shine endeavour?

We count three hundred, but we miss: There is but one, and that one ever. ple a s e t ur n pag e qu i e t ly

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Sung Text: Mystical Songs

27

3. Love Bade Me Welcome Love bade me welcome: yet my soul drew back, Guilty of dust and sin.

But quick-eyed Love, observing me grow slack From my first entrance in, Drew nearer to me, sweetly questioning, If I lack’d anything.

A guest, I answer’d, worthy to be here: Love said, You shall be he.

I the unkind, ungrateful? Ah, my dear, I cannot look on thee.

Love took my hand, and smiling did reply, Who made the eyes but I? Truth, Lord, but I have marr’d them: let my shame Go where it doth deserve.

And know you not, says Love, who bore the blame?

My dear, then I will serve.

You must sit down, says Love, and taste my meat: So I did sit and eat.

4. The Call

5. Antiphon

Come, my Way, my Truth, my Life: Such a Way, as gives us breath: Such a Truth, as ends all strife: Such a Life, as killeth death.

Let all the world in every corner sing, My God and King!

Come, my Light, my Feast, my Strength: Such a Light, as shows a feast: Such a Feast, as mends in length: Such a Strength, as makes his guest.

Come, my Joy, my Love, my Heart: Such a Joy, as none can move: Such a Love, as none can part: Such a Heart, as joys in love.

The heav’ns are not too high, His praise may thither fly: The earth is not too low, His praises there may grow.

Let all the world in every corner sing, My God and King!

The church with Psalms must shout, No door can keep them out: But above all, the heart Must bear the longest part.

Let all the world in every corner sing, My God and King!

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Sung Text: Mystical Songs

SEVERANCE HALL

SOLOIST Alexander Elliott American baritone Alexander Elliott has made a name for himself on concert and operatic stages, performing with opera companies and orchestras across the United States. The 2018-19 season includes his debuts with New York’s Metropolian Opera and Houston Grand Opera singing the role of Zurga in Bizet’s The Pearl Fishers, as well as his return to Opera Omaha for his role debut as Silvio in Leoncavallo’s Pagliacci. He is making his Severance Hall debut with this evening’s performances of Vaughan Williams’s Five Mystical Songs. He also sings this season with the orchestras of Pittsburgh and Indianapolis.

Mr. Elliott made two festival debuts during the summer of 2018, both in celebration of Leonard Bernstein’s centennial. He appeared with the Ravinia Festival in June under the baton of Marin Alsop in Bernstein’s Mass, followed by performances as Maximilian, the Sea Captain, and the Grand Inquisitor in Candide at the Tanglewood Festival.

A proponent of contemporary works, Mr. Elliott has appeared as John Brooke in Mark Adamo’s Little Women with Madison Opera and Annapolis Opera, as Edward Kynaston in Carlisle Floyd’s Prince of Players with the Florida State Opera, and in the role of Doug Hansen in Joby Talbot’s Everest with Dallas Opera. He also sings a variety of standard operatic roles and concert parts, in works ranging from Bach, Handel, Mozart, and Berlioz to Rossini, Donizetti, and Puccini.

Alexander Elliott is a graduate of San Francisco Opera’s Merola Young Artists Program and is the recipient of the 2013 John Moriarty Award for his work with Central City Opera in Colorado. He attended Florida State University, where he studied with David Okerlund.

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 Soloist

29

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 Masha Andreini Amy Barlowe Sibbi Bernhardsson Alan Bodman Wei-Shu Co Vladimir Deninzon* Wei-Fang Gu* Rachel Huch Joan Kwuon Amy Lee* Jessica Lee* Sonja Molloy* Yoko Moore Eugenia Poustyreva Mary Price Erin Reidhead Stephen Rose* Stephen Sims Jan Sloman Cory Smith Sofia Vitek VIOLA TEACHERS Lisa Boyko* Jeffrey Irvine Eva Kennedy Laura Poper Laura Shuster Ann Smith Louise Zeitlin CELLO TEACHERS Martha Baldwin* Rachel Bernstein David Alan Harrell* Pamela Kelly Andris Koh Melissa Kraut Ida Mercer Daniel Pereira Keith Robinson Richard Weiss*

BASS TEACHERS Ann Gilbert Tracy Rowell Henry Samuels Bryan Thomas Chris Vance Matthew Yoke FLUTE TEACHERS Doris Malone Linda Miller Heidi Ruby-Kushious Dawn Schwartz OBOE TEACHERS Nermis Mieses Corbin Stair* Danna Sundet Cynthia Warren Craig Wohlschlager CLARINET TEACHERS Angelo Fortini Jennifer Magistrelli Amitai Vardi BASSOON TEACHERS Renee Dee Jessica Smith HORN TEACHERS Hans Clebsch* Meghan Guegold Melinda Kellerstrass TRUMPET TEACHERS Nina Bell Amanda Bekeny Michael Miller* Rich Pokrywka TROMBONE TEACHERS Michele Kuhar Leland Matsumura Richard Stout* Bernard Williams IV TUBA TEACHERS Ray Harcar Justin White

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Appreciation

PERCUSSION TEACHERS Matthew Dudack Ryun Louie Luke Rinderknecht Will Wedmedyk HARP TEACHERS Xiao Lei Salovara KEYBOARD TEACHERS Nancy Bachus  

* Member of The Cleveland Orchestra

VOICE TEACHERS Eniko Balacz Ryan Bergeron Ann Castellano Greg Cekada Norma Codispoti Brenda Cuffari Joshua Fadenholtz Hannah Flower Bob Godfrey Jose Gotera Kendal Gunlicks Judith Higbee Caroline Holtz Denise Howell Katherin Iriarte Kimberly Judd Galen Karriker Kim Lauritsen Kathy Leciejewski Allan Licht Barbra Lipian Leslie Macone Ben Richard Laura Schupbach-Barkett Jim Sentz Heidi Skok Stephen Stavnicky Anastasia Svyatlovskaya Lisa Van Scyoc Mary Krason Wiker Diana Walters

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11001 Euclid Avenue, Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

LATE SEATING As a courtesy to the audience members and musicians in the hall, late-arriving patrons are asked to wait quietly until the first convenient break in the program, when ushers will help you to your seats. These seating breaks are at the discretion of the House Manager in consultation with the performing artists.

PAGERS, CELL PHONES, AND WRISTWATCH ALARMS Please silence any alarms or ringers on pagers, cellular telephones, or wristwatches prior to the start of the concert.

of the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Orchestra since its opening on February 5, 1931. After that first concert, a Cleveland newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a temple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of The 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 Hall. Photographs of the hall and selfies can be taken when the performance is not in progress.

As courtesy to others, please turn off any phone/ device that makes noise or emits light.

IN THE EVENT OF AN EMERGENCY Contact an usher or a member of house staff if you require medical assistance. Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency.

HEARING AIDS AND OTHER HEALTH-ASSISTIVE DEVICES For the comfort of those around you, please reduce the volume on hearing aids and other devices that may produce a noise that would detract from the program. Infrared AssistiveListening Devices are available. Please see the House Manager or Head Usher for more details.

AGE RESTRICTIONS Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Classical season subscription concerts are not recommended for children under the age of 8. However, there are several ageappropriate series designed specifically for children and youth, including: Musical Rainbows (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older).

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