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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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.
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.
2 018 - 19 S E A S O N
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
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School Music Teachers The members of the Cleveland Orchestra Youth Orchestra and Cleveland Orchestra Youth Chorus express gratitude to their school music directors for the role they play on a daily basis in 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
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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
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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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