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CLEVELAND ORCHESTRA
Youth Orchestra .
V I N AY PA R A M E S WA R A N
November 15, 2O19 Severance Hall
M U S I C D I R E C TO R
OBERLIN CONSERVATORY OF MUSIC CELEBRATING TRADITION. CREATING THE FUTURE.
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They envision the sounds of tomorrow. Oberlin Conservatory of Music 39 West College Street, Oberlin, OH 44074 Prelude Concert 440-775-8413 | www.oberlin.edu/con
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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.
Prelude Concert Cleveland Orchestra Youth Orchestra
Friday evening, November 15, 2019, at 7:00 p. m. in Reinberger Chamber 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 perform in the chamber ensembles with Youth Orchestra students. C Coaches oaches are denoted with (*) next to their name.
wolfgang amadè mozart (1756-1791)
from String Duo in G major (for violin and viola), K.423 1. Allegro Henry Rogers, violin Sonja Braaten Molloy, viola*
wolfgang amadè mozart
from Divertimento in B-flat major, K.137 3. Allegro assai Kate Goldberg, violin Ella Cole, violin Mikinzie Bumbarger, viola Charles Bernard, cello*
antonín dvořák (1841-1904)
from String Quintet No. 2 in G major, Opus 77 1. Allegro con fuocco Yun-Ting Lee, violin* Hansen Song, violin Miho Hashizume, viola* Ania Lewis, cello Damian Rutti, bass
SEVERANCE HALL
Prelude Concert
3
1986
1OO 3
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 three international concert tours, to Europe in 2012 and to China in 2015. They traveled 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 Orchestra in its first three decades, learning together as an ensemble the ways and workings of a professional orchestra.
COYO has performed over 200 concerts, including a series of three concerts each year at Severance Hall, plus performances in communities throughout Northeast Ohio, and on concert tour.
Through last season . . . COYO has performed the world premieres of
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Eight music directors have led COYO since 1986: Jahja Ling, Gareth Morrell, Steven Smith, James Gaffigan, Jayce Ogren, James Feddeck, Brett Mitchell, and Vinay Parameswaran.
200
newly-written pieces.
Founded in 1986, the Youth Orchestra’s first public concert was held on February 1, 1987.
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Cleveland Orchestra Youth Orchestra
BY THE NUMBERS
CLEVELAND ORCHESTRA
Youth Orchestra .
M U S I C D I R E C TO R
Friday evening, November 15, 2019, at 8:00 p. m. Severance Hall — Cleveland, Ohio
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V I N AY PA R A M E S WA R A N
Vinay Parameswaran, conductor sarah kirkland snider
(b. 1973)
dmitri shostakovich
(1906-1975)
Something for the Dark Cello Concerto No. 1 in E-flat major, Opus 107 1. 2. 3. 4.
Allegretto Moderato — Cadenza — Allegro con moto
ANNIE ZHANG, cello
INTERMISSION jean sibelius
(1865-1957)
Symphony No. 2 in D major, Opus 43 1. Allegretto 2. Tempo andante, ma rubato 3. Vivacissimo — Lento e suave — Tempo primo — Lento e suave — 4. Finale: Allegro moderato
live radio broadcast tonight
This evening’s concert is being broadcast live on WCLV (104.9 FM). The program will be rebroadcast as part of regular weekly programming on WCLV, on Sunday afternoon, February 9, 2020, at 4:00 p.m. and again on Saturday, August 15, 2020, at 8:00 p.m.
SEVERANCE HALL
Concert Program
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CLEVELAND ORCHESTRA
Youth Orchestra .
V I N AY PA R A M E S WA R A N FIRST VIOLIN
SECOND VIOLIN
CONCERTMASTER
PRINCIPAL
Moshi Tang
Hawken School
Moonhee Kim
ASSISTANT CONCERTMASTER
Beachwood High School
M U S I C D I R E C TO R
Samantha Ma
Revere High School
Lizzy Huang
ASSISTANT PRINCIPAL
Shaker Heights High School
CELLO
FLUTE
Katarina Davies
Mariana Anjali Castañeda Sn
PRINCIPAL
Homeschooled
Campus International High School
Ania Lewis
ASSISTANT PRINCIPAL
Adriana Krauss
Gilmour Academy
Oberlin High School
Owen Lockwood
Tal Yankevich
Theodora Bowne
Vardaan Shah Sh
Neige DeAngelis
Andrew Hu
David Cho
Lily Waugh Si
Marina Ziegler
Jasmine Shone
Matthew Kwok
Ayaka Coffman
George Wang
Adam Ryan
Jason Zhang
Grace Gill
Erica Nie
Avery Maytin
Shaker Heights High School Hathaway Brown School Copley High School Archbishop Hoban High School
Hansen Song
Chagrin Falls High School
Christina Bencin
Hathaway Brown School
Nathan Hsiao
Westlake High School
Beachwood High School Hudson High School Hawken School Hawken School
Hudson High School Brecksville-Broadview Heights High School
Kevin Si
Hudson High School
Enzo Zhou
Zihao Qing
Andrew Maxwell
Ehren Collins
Western Reserve Academy Homeschooled
Solon High School University School
Wendi Song
Alex Luo
Carol Huang
Annabelle Abbott
Caroline Jung
Ella Cole
Richard Jiang
Henry Rogers
Chagrin Falls High School Hathaway Brown School Hathaway Brown School Solon High School
Solon High School Shaker Heights High School Hershey Montessori School Andrews Osborne Academy
Kate Goldberg Laurel School
VIOLA
Shaker Heights High School
Strongsville High School
Hudson High School
Cleveland Heights High School
Walsh Jesuit High School
PICCOLO
Mariana Anjali Castañeda Sh Adriana Krauss Sn
Hudson High School Lakewood High School Shaker Heights High School
OBOE
Kwabena Owusu
Yiyang Fu Sh
Solon High School
Avon High School
Anna Goldberg
Leo Sherwood
Eleanor Pompa
Zach Walker Sn
Cirrus Rowland-Seymour
Alexis Wilson Si
Laurel School
Hawken School
Laurel School
Shaker Heights High School
Annie Zhang
Ohio Connections Academy
Manchester High School Crestwood High School
ENGLISH HORN
Yiyang Fu Sn BASS
Jamie Park PRINCIPAL
Hawken School
Mark Yost
CLARINET
Charlie King Si
Cleveland Heights High School
ASSISTANT PRINCIPAL
Shuta Maeno Sh
PRINCIPAL
Damian Rutti
Kevin Maxwell Sn
Gunnar Brennecke
Jacqueline Marshall
Megan Zhao
Natalie Brennecke Homeschooled
ASSISTANT PRINCIPAL
Homeschooled
Ashley Cvetichan Mentor High School
Ginger Deppman Oberlin High School
Mitchell Likovetz
Hudson High School
Mikinzie Bumbarger Mentor High School
Mason Mihalek
Hudson High School
Kristen Nedza
Solon High School
Mentor High School Mentor High School Laurel School
Jonathan Jacques
Shaker Heights High School
Michael Yuhos
Hudson High School
JoHanna Arnold
Fairview High School
Maxwell Moses
Elyria High School
HARP
Anastasia Seckers Sn Lakewood High School
Shaker Heights High School St. Peter’s High School Hudson High School
BASSOON
Nicholas Taylor Sn
North Royalton High School
Luis Torres Sh
Fairview High School
Allen Jiang Si ** CONTRABASSOON
Nicholas Taylor Sh Allen Jiang Sn
Claire Peynebrune** Marcus Stevenson **
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Youth Orchestra
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HORN
Hyejin Suzie Lee Sh Stow Munroe Falls High School
William Lowe Sn
North Olmsted High School
TROMBONE
Billy Brown
Lake High School
Felicia Goggins Sn
Firestone Community Learning Center
Gina Marjanovic
Juyoung Lee Si
Maria Scotto di Uccio Si
Ryan Yonek
Lakewood High School Howland High School
Lauren Jensen **
Tim Barron
Solon High School
Nicole Buckland Alexa Clawson Brian Randall
MANAGER
PIANO
LIBRARIAN
Westlake High School Brunswick High School
Taylor Sobol
Hawken School
PERCUSSION
Jason Zhang
Hudson High School
TUBA
Will Bowers
Cuyahoga Falls High School
Lauren Generette Kennedy McKain
CELESTA
Jason Zhang
TRUMPET
Jessica Barrick Sn
Westlake High School
Dasara Beta Si
Rocky River High School
Ethan Hartman
Strongsville High School
Brett Nickolette
Avon Lake High School
TIMPANI
Nicole Buckland Sn Medina High School
Alexa Clawson Sh
Shaker Heights High School
Brian Randall Si
Firestone Community Learning Center
WOODWIND, BRASS, AND PERCUSSION PERFORMERS ARE LISTED ALPHABETICALLY.
PRINCIPAL PLAYERS
= Snider = Shostakovich Si = Sibelius ** = extra/substitute musician
Sn
Sh
The Cleveland Orchestra Youth Orchestra is supported by a grant from the Martha Holden Jennings Foundation and from many other donors from across Northeast Ohio.
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 216-231-8011.
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 9 - 2 0 S E A S O N marks the
Cleveland Orchestra Youth Orchestra’s 34th season and the third year under the direction of Vinay Parameswaran. The Cleveland Orchestra Youth Orchestra is one of the Cleveland area’s premier musical destinations for aspiring student musicians — and one of the most acclaimed youth orchestras in the United States. Since its inaugural concert in 1987, the Youth Orchestra has performed more than 250 concerts and provided a musical home to 1,500 talented young instrumentalists. Founded for The Cleveland Orchestra by Jahja Ling, then the ensemble’s resident conductor, the Cleveland Orchestra Youth Orchestra provides serious young music students of middle school and high school age with a pre-professional orchestral training experience in a full symphony orchestra. The unique musical experiences that the Youth Orchestra offers include weekly coachings with members of The Cleveland Orchestra, rehearsals and performances in historic Severance Hall, and opportunities to work with internationally renowned guest artists and conductors. Those guests
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M U S I C D I R E C TO R
have included Marin Alsop, Pierre Boulez, Stéphane Denève, Christoph von Dohnányi, Giancarlo Guererro, Witold Lutosławski, YoYo Ma, Gil Shaham, Michael Tilson Thomas, Antoni Wit, and Cleveland Orchestra Music Director Franz Welser-Möst. The creation of the Cleveland Orchestra Youth Chorus in 1991, to provide a similar experience for young vocalists from across Northeast Ohio, also widened the repertoire for the Youth Orchestra and expanded the Youth Orchestra’s preparation for potential professional roles. As one of the best youth orchestras in North America, and one of just a few affiliated with a top-tier orchestra, the Cleveland Orchestra Youth Orchestra has garnered a number of prestigious accolades. In 1998, the Youth Orchestra was selected to participate in the second National Youth Orchestra Festival sponsored by the League of American Orchestras. In 2001, the Youth Orchestra appeared on the Family Concert Series at New York’s Carnegie Hall, and, in June 2009, they traveled to Boston for a series of four performances. The ensemble’s recent sched-
Cleveland Orchestra Youth Orchestra
China, 2015
SEVERANCE HALL
Music Directors of the
Cleveland Orchestra YOUTH ORCHESTRA Jahja Ling 1986-1993
Linz, 2019
Gareth Morrell 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 2019, returning to Europe. The 2019 tour featured Franz Welser-Möst’s participation in leading a rehearsal and conducting the ensemble in Linz, as well as coaching of a group of chamber music students in an exchange partnership with Anton Bruckner Private University. In recent years, several Cleveland Orchestra Youth Orchestra students have been featured on the nationally syndicated radio series From the Top, and several for2 019 - 2 0 S E A S O N
1993-1998
Steven Smith 1998-2003
James Gaffigan 2003-2006
Jayce Ogren 2006-2009
James Feddeck 2009-2013
Brett Mitchell 2013-2017
Vinay Parameswaran from 2017
mer members have won full-time positions in major orchestras, including four in The Cleveland Orchestra. Members of the Youth Orchestra come from forty communities in a dozen counties throughout Northeast Ohio to rehearse together each week in Severance Hall. The Youth Orchestra season runs from August through May and features a three-concert subscription series at Severance Hall.
Cleveland Orchestra Youth Orchestra
9
CarnegieMellonMusic @CMUmusic cmumusic CarnegieMellonMusic
MUSIC.CMU.EDU
Vinay Parameswaran P H OTO BY R O G E R MA S T R O I A N N I
Music Director Cleveland Orchestra Youth Orchestra
Assistant Conductor Elizabeth Ring and William Gwinn Mather Endowed Chair The Cleveland Orchestra
T H E 2 0 1 9 - 2 0 S E A S O N marks
Vinay Parameswaran’s third 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.
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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
MSU Students explore limitless possibilities and discover the world of music — all within a welcoming and motivating environment designed to give them the freedom to grow and the inspiration to help realize their unique potential.
MUSIC.MSU.EDU/EXPLORE
Browse MusicMSU on YouTube, Livestream, Instagram, Facebook and Twitter.
MUSIC.admissions@msu.edu (517) 355-2140
2020 Audition dates: Jan. 10, 11, 24, 25; Feb. 7, 8, 21, 22
Something for the Dark by Sarah Kirkland Snider composed 2013-15
C
O M P O S E R Sarah Kirkland Snider was born and
raised in Princeton, New Jersey. She received her bachelor’s degree from Wesleyan University and then a master of music degree and artist diploma from Yale School of Music, where she studied with Martin Bresnick, Aaron Jay Kernis, Ezra Laderman, and David Lang. Sarah Kirkland She later engaged in studies with Christopher Rouse and SNIDER Marc-André Dalbavie at the Aspen Music Festival. born October 8, 1973 Snider has received commissions and performancin Princeton, New Jersey es from a wide variety of ensembles, including the New currently living York Philharmonic, San Francisco Symphony, Detroit Symin Princeton phony Orchestra, Kansas City Lyric Opera, North Carolina Symphony, Residentie Orkest Den Haag, and the American Composers Orchestra. Upcoming projects include an orchestral commission for the New York Philharmonic to premiere on their season finale concert in June 2020, and Tongue of Fire, an opera on 12th century visionary-abbess-composer Hildegard von Bingen, commissioned by Beth Morrison Projects and scheduled to premiere at Prototype Festival in January 2022. Her choices in composition, particularly in the several song cycles she has written, borrow freely from ideas and idioms of indie-rock and popular music, while also bringing in touches and tinges from classical chamber music forms and instrumentation. With this wide range of musical origins and stylings, she has often been associated with the growing indie-classical movement — but presents her own unique musical voice. A B O U T T H I S WO R K
Snider wrote Something for the Dark as recipient of the Detroit Symphony’s Elaine Lebenbom Award for Female Composers in 2013. The Detroit ensemble premiered it on April 14, 2016, conducted by Giancarlo Guerrero. She has written the following comments about this work: When I received the commission to write a new work for the Detroit Symphony Orchestra, I
thought I would try to write something about hope and endurance. Early into my sketches for the piece, I stumbled onto an idea that sounded to me like hope incarnate: a bold, full-hearted little melody surrounded by dignity and sunlight and shiny things. At the time, I thought that maybe I would open the piece with this theme and then take the music on a journey through some adversity to an even bigger, bolder statement of optimism. Growth! Triumph! A happy ending! But that wasn’t what happened. Something for the Dark opens with a statement of hope, and then sets out on an uncertain journey to find it again, but instead encounters strange new echoes of that musical motif in different, unfamiliar settings. The music chases digressions, trying to resolve related but new musical arguments. 2 019 - 2 0 S E A S O N
About the Music
13
Eventually, it finds its way to solid ground, though this place is quite a bit darker than where we began. Nevertheless, to my mind, this arrival feels more trustworthy, more complete, more worthy of celebration, because it feels more real. While writing this music, I was reading some Detroit poets for their take on the city, and grew better acquainted with the work of Philip Levine. The last two lines of his poem “For Fran” struck me as an apt motto for the kind of clear-eyed reflections on endurance that run throughout his poems about Detroit. In preparing some flower beds for winter, Levine’s wife becomes a symbol of the promise of renewal in general: “Out of whatever we have been / We will make something for the dark.” Levine has said that much of his poetry about Detroit was born of “the hope that Detroit might be reborn inside itself, out of its own ruins, phoenix-like, rising out of its own ashes. Except I don’t see it in heroic terms. The triumphs are small, personal, daily. Nothing grandly heroic is taking place; just animals and men and flowers and plants asserting their right to be, even in this most devastated of American cities.” The musical piece Something for the Dark is a meditation on renewal, and the hardwon wisdom that attends the small, personal, daily triumphs of asserting one’s right to be. —Sara Kirkland Snider, 2016 Performance Time: just over 10 minutes
SCHOOL OF MUSIC
CONTACT INFORMATION music.depauw.edu 765-658-4118 georgepalton@depauw.edu
2020 AUDITION DATES February 1, 8 and 29 or by appointment.
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About the Music
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Something for the Dark takes its title from a poem by Philip Levine, the Detroit-born-and-raised, Pulitzer Prize-winning former United States Poet Laureate who was best known for his poems about the city’s working class. The poem, written for Levine’s wife, reads:
For Fran by Philip Levine (1928-2015) She packs the flower beds with leaves, Rags, dampened papers, ties with twine The lemon tree, but winter carves Its features on the uprooted stem. I see the true vein in her neck And where the smaller ones have broken Blueing the skin, and where the dark Cold lines of weariness have eaten Out through the winding of the bone.
On the hard ground where Adam strayed, Where nothing but his wants remain, What do we do to those we need, To those whose need of us endures Even the knowledge of what we are? I turn to her whose future bears The promise of the appalling air, My living wife, Frances Levine, Mother of Theodore, John, and Mark, Out of whatever we have been We will make something for the dark. © PHILIP LEVINE
Manhattan School of Music
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Office of Admissions and Financial Aid Manhattan School of Music 130 Claremont Avenue, New York, NY 10027 917-493-4436 admission@msmnyc.edu
it all happens here. SEVERANCE HALL
About the Music
15
Cello Concerto No. 1
in E-flat major, Opus 107
by Dmitri Shostakovich composed 1959
D
M I T R I S H O S T A K O V I C H and cellist Mstislav
Rostropovich enjoyed a unique friendship and artistic partnership for many years. Rostropovich, who was born in 1927 and died in 2007, was a teenager when he first met the composer, who was his senior by 21 Dmitri years, in 1943. At the time, Rostropovich was a student SHOSTAKOVICH at the Moscow Conservatory, studying both cello and composition, and found himself enrolled in Shostakovborn September 25, 1906 ich’s orchestration class. His admiration for his teacher in St. Petersburg knew no bounds, and after Shostakovich had heard died August 9, 1975 the young man play, the admiration became mutual. in Moscow During the 1950s, the two performed Shostakovich’s Cello Sonata (1934) in concert tours all over Russia, with Shostakovich playing the piano, and their friendship deepened. Across those years, Rostropovich was dreaming of a concerto Shostakovich might one day write for him. But the composer’s wife told him, “Slava, if you want Dmitri Dmitriyevich to write something for you, the only recipe I can give you is this — never ask him or talk to him about it.” Rostropovich reluctantly followed this advice. And then one day in 1959, Shostakovich handed him a new concerto. The ecstatic cellist committed the entire piece to memory in just four days, astounding the composer when the two got together at Shostakovich’s summer home later that week, on August 6. In her book of recollections by many contemporaries of the composer, Elizabeth Wilson reports the following incredible conversation between them: “Now just hang on a minute while I find a music stand,” Shostakovich said. The cellist answered: “Dmitri Dmitriyevich, but I don’t need a stand.” “What do you mean, you don’t need a stand, you don’t need one?” “You know, I’ll play from memory.” “Impossible, impossible . . .” Rostropovich proceeded to play through the work from memory with the pianist he had brought with him, to the utter delight of the composer and a small number of friends who had gathered in the music room. Afterwards, they celebrated with a festive dinner. Everyone knew they had witnessed a historic moment. The first public performance, two months later, was enthusiastically received, and was soon followed by an international triumph, establishing the work as the most significant addition to the cello concerto literature in a long time. Shostakovich, inspired by an exceptional instrumentalist with whom he had bonded deeply, had written a work that combined immediacy of expression with formal perfection and Romantic passion with Classical balance — something not found very often in the symphonic music of the 1950s. Nor had music ever communicated more directly or more sincerely.
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About the Music
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THE CONCERTO’S MUSIC Once you have heard the concerto’s opening motif, played by the cello, you are unlikely ever to forget this four-note theme. Varied, developed, and taken into successively higher registers of the solo instrument, this little motif dominates the entire first movement of the concerto — and beyond. The remaining three movements are played without pauses between them. First we hear a slow movement (actually, the tempo is marked Moderato), featuring — after a dream-like introduction — a very simple, folklike melody. The third movement is a lengthy, unaccompanied cadenza for the soloist, beginning slowly and becoming faster and faster. This leads directly into the exuberant finale, which opens with a spicy dance tune with some sarcastic overtones. Performance Time: 30 minutes
SOLOIST Annie Zhang Annie Zhang appears as soloist in this evening’s concert as co-winner of the Cleveland Orchestra Youth Orchestra’s 2018-19 Concerto Competition. Born in San Jose, California, she currently studies cello performance with Melissa Kraut in the Cleveland Institute of Music’s Young Artist Program. She previously studied with Marilyn de Oliveira, assistant principal cello of the Oregon Symphony. Ms. Zhang was a member of the Portland Youth Philharmonic (PYP), 2010-18, and served as PYP principal cello, 2015-18. In 2018, she performed in Einhorn’s Voices of Light as soloist and principal cello. In 2017, she attended the National Symphony Orchestra Summer Music Institute in Washington D.C. on full scholarship as principal cello. This past summer, she attended Domaine Forget in Québec on an Enhanced Program Scholarship. Earlier this season, in October 2019, she attended the Cello Akademie Rutesheim in Stuttgart, Germany, to study with Danjulo Ishizaka. Ms. Zhang has won a number of competitions, including the Metro Arts Young Artists Concerto Debut Competition (in 2015 and 2018), Oregon Mozart Players Young Artist Competition (2018), Portland Youth Philharmonic’s concerto competition (2017) and solo competition (2015), and the highest prize in the Oregon Cello Society scholarship competition in 2014. Her concerto repertoire includes Tchaikovsky’s Pezzo Capriccioso, Elgar’s Cello Concerto, and Tchaikovsky’s Rococo Variations. She has performed solo and chamber music in masterclasses with a variety of artists, including Monica Huggett, Paul Watkins, Daniel Phillips, Philip Setzer, Mark Kosower, Alban Gerhardt, Jeff Zeigler, Ida Kavafian, and Steven Tenenbom. She has also taken lessons with Hans Jorgen Jensen, Efe Baltacigil, Wolfgang Emanuel Schmidt and David Geringas. With a strong belief in serving the communities where she lives, Annie Zhang has performed in benefit concerts for the homeless and chamber music for senior homes. 2 019 - 2 0 S E A S O N
About the Soloist
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Symphony No. 2
in D major, Opus 43 by Jean Sibelius
I
composed 1901-02
N T H E A U T U M N O F 1 9 0 7 , Jean Sibelius and Gus-
tav Mahler met in Helsinki and famously “talked shop” about the musical world and composing. Mahler was in town to conduct (a program of Beethoven and Wagner), and Sibelius and he met several Jean times over drinks and dinner, as well as out walking and SIBELIUS talking together. born December 8, 1865 Sibelius, true to his own music, put forth symphoin Hämeenlinna, Finland nies built on formal structures as the ideal, with musical died September 20, 1957 phrases and ideas used as material from which to logiin Järvenpää, Finland cally and methodically — but creatively — aggregate to a whole. Mahler, with his larger-than-life personality, insisted that “No! the symphony must be like the world. It must be all-embracing.” These two titans were, perhaps, not really disagreeing. They were simply viewing the world — and music — from their own perspectives. At the time, Sibelius’s interest in Mahler was, like nearly everyone’s, about his stardom as a conductor rather than in his music. Mahler, in turn, was largely unfamiliar with any of Sibelius’s musical works (he’d heard only a couple of smaller pieces, and, to his death only four years later, never conducted anything by his Finnish compatriot). Sibelius was a traditional symphonist, working very much in the Germanic European line from Beethoven onward through to Schubert and Schumann, to Brahms and Tchaikovsky (whose Russian-ness was thoroughly Germanic in music-making, if a bit French in his on-the-sleeve emotionalism). Like Beethoven, Sibelius built his music from small motifs, kernels of ideas, from which he crafted broad and sweeping musical vistas. Sibelius’s symphonies are without storylines, even though they certainly carry messages of spirit. Which is to say that his symphonies are music first, without any message about being human — beyond our ability to recognize structure, to enjoy beauty, and to experience and to respond to things “unfolding” across time. Sibelius’s early symphonies, especially, are a marvelous mix of energy, invention, and melody, brought together with a traditional admixture of structure and classical sonata form (with, for effect, rules slightly bent). That he varied his building blocks (and structure), and that he later distilled both form and ideas down to shorter and denser, more direct works should not cloud our views of the early symphonies. Sibelius’s coldhearted Seventh, densely packed into a single movement, did not exist, in his mind or the real world, when he wrote the blaze and glories of the expansive First and Second. The Second Symphony, premiered in 1902 is, for many of us, the closest Sibelius came to a perfectly balanced work — deftly blending form and feeling, and existing beautifully as pure music. The First Symphony is more easily rhythmic and tuneful, the
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About the Music
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Fifth more profound, the Seventh more compact and terse. But in the Second, he balanced all considerations and created a timeless masterpiece. T H E SY M P H O N Y ’ S M U S I C
The symphony’s first movement opens gently, propelled by fidgety figures in the strings and then woodwinds, each large phrase taken up and resolved by the horns. A more tranquil series of moments gives call to questions, which the remainder of the movement finishes through on, gaining strength and energy, with the opening motif recurring, as itself and altered, as the movement finally retreats to the gentleness with which it began.
The second movement features two competing musical subjects, in plucked pizzicato and a more melodic motif, which appear to battle one another, inconclusively. The Scherzo third movement follows, driving forward with great energy and searching, before slowing and breathing deeply on some beautifully introspective music. Then, as Beethoven did in his Fifth Symphony, Sibelius builds up and connects this directly into the finale fourth movement, leading into a flowing D-major melodic line that appears almost magically out of D minor (just as Beethoven did between C minor and C major in the Fifth). The brass bellows in pleasured full breaths. The movement continues, circling ideas, and merging and shifting phrases around, before Sibelius repeats the transition (just as Beethoven had) and then drives head-on to a big finish. Here, as the music’s throttle is opened up full, one can forget what chord progressions or sequences are (or just smile, if you never really caught on), because Sibelius lets them ring out clear, again and again, resolving this music, step by step, making . . . everything . . . sound as inevitable and as natural and triumphant as . . . well, as natural as tonal music was once thought to be, before “modern” music offered us so many alternate possibilities. This is symphonic music writ large and wondrous! Performance Time: 45 minutes
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About the Music
SEVERANCE HALL
Youth Orchestra Coaching Staff These members of The Cleveland Orchestra are serving as coaches for the Cleveland Orchestra Youth Orchestra. VIOLIN
Peter Otto
FIRST ASSOCIATE CONCERTMASTER
Kathleen Collins Sonja Braaten Molloy Stephen Tavani ASSISTANT CONCERTMASTER
VIOLA
Stanley Konopka
ASSISTANT PRINCIPAL
Lynne Ramsey
FIRST ASSISTANT PRINCIPAL
CELLO
WOODWIND
Jessica Sindell
ASSISTANT PRINCIPAL FLUTE
Frank Rosenwein PRINCIPAL OBOE
Jeffrey Rathbun
ASSISTANT PRINCIPAL OBOE
PERCUSSION
Thomas Sherwood HARP
Trina Struble PRINCIPAL
Corbin Stair OBOE
Robert Woolfrey CLARINET
Gareth Thomas
KEYBOARD
Joela Jones PRINCIPAL
BASSOON
BRASS
Hans Clebsch HORN
EMERITUS
Phillip Austin
baSSOON EMERITuS u uS
John Rautenberg
Richard Weiss
Richard King
David Alan Harrell
Lyle Steelman
WITH SPECIAL THANKS TO
BASS
Shachar Israel
Robert O’Brien
FIRST ASSISTANT PRINCIPAL
Mark Atherton Scott Dixon
fluTE EMERITuS u uS
HORN
ASSISTANT PRINCIPAL TRUMPET
lIbRaRIa RI N RIa
ASSISTANT PRINCIPAL TROMBONE
Yasuhito Sugiyama PRINCIPAL TUBA
Franz Welser-Möst, Music Director Richard K. Smucker Smucker, Board Chair André Gremillet, President & CEO
Education and Community Engagement Joan Katz Napoli, Senior Director
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THE CLEVELAND ORCHESTRA
Sandra Jones, Manager, Education and Family Concerts Sarah Lamb, Manager, Community Engagement Courtney Gazda, Associate Manager, Learning Programs Lauren Generette, Manager, Cleveland Orchestra Youth Orchestra Kennedy McKain, Lirbrarian/Coordinator, Cleveland Orchestra Youth Orchestra
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Appreciation
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Youth Orchestra Teachers The members of the Cleveland Orchestra Youth Orchestra express gratitude About the Music to their private teachers for their insight, patience, and expertise. VIOLIN TEACHERS
Masha Andreini Sibbi Bernhardsson Wei-Chu Co Vladimir Deninzon* Wei-Fang Gu* Olga Kaler Joan Kwuon Jung-Min Amy Lee* Eli Matthews* Sonja Braaten Molloy* Yoko Moore Eugenia Poustyreva Carol Ruzicka Kimberly Meier-Sims Stephen Sims Cara Tweed Barbara Weber Jin Yu VIOLA TEACHERS
Jeffrey Irvine Laura Keunen-Poper Laura Shuster Ann Smith Corey Smith Jeff Williams Louise Zeitlin CELLO TEACHERS
Martha Baldwin* Aaron Fried Alex Glaubitz David Alan Harrell* Pamela Kelly Mark Kosower* Melissa Kraut Ida Mercer Richard Weiss*
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BASS TEACHERS
TROMBONE TEACHERS
FLUTE TEACHERS
TUBA TEACHERS
Ann Gilbert Tracy Rowell Bryan Thomas Chris Vance
Jim Albrecht Michele Kuhar Leland Matsumura Bernard Williams
Heather Mandujano Andrew Santiago Dawn Schwartz Jessica Sindell* OBOE TEACHERS
Mary Kausek Marin Neubert Corbin Stair* Cynthia Warren
Justin White
PERCUSSION TEACHERS
Matthew Dudack Stephen Klunk Ryun Louie Luke Rinderknecht HARP TEACHERS
Xiao Lei Salovara
CLARINET TEACHERS
Jennifer Magistrelli Tom Reed Amitai Vardi Robert Woolfrey*
BASSOON TEACHERS
KEYBOARD TEACHERS
Nancy Bachus
* Member of The Cleveland Orchestra
Mark DeMio Andrew Machamer HORN TEACHERS
Hans Clebsch* Meghan Guegold Rebecca McGown Ben Reidhead Jason Riberdy
TRUMPET TEACHERS
Nina Bell Rich Pokrywka Lyle Steelman*
Appreciation
SEVERANCE HALL
DEGREES
Hugh A. Glauser School of Music
Bachelors Masters Doctorate
PROGRAMS Music Education Performance Conducting Ethnomusicology Music Theory/Composition MINORS
Music | World Music | Jazz Studies
ORCHESTRA
DR. JUNGHO KIM
Director of Orchestra
AT
KENT STATE
FACULTY
Our highly skilled and dedicated teaching faculty are consummate 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 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 *Member of The Cleveland Orchestra
BRASS
Kent Larmee | horn Michael Chunn | trumpet David Mitchell | trombone Kenneth Heinlein | tuba
PERCUSSION Matthew Holm
ADMISSIONS AND AUDITIONS GRADUATE ADMISSIONS
AUDITIONS AND VISITS
COURSES AND TRANSFER
Michael Chunn Graduate Coordinator
Janine Tiffe & Kishna Davis Fowler Recruitment Coordinators
Dana Brown Assistant to the Director
mchunn@kent.edu
schoolofmusic@kent.edu
dabrown@kent.edu
SCHOLARSHIPS AND GRADUATE ASSISTANTSHIPS AVAILABLE!
23 WWW.KENT.EDU/MUSIC | 330-672-2172 SEVERANCE HALL
School Music Teachers The members of the Cleveland Orchestra Youth Orchestra express gratitude to their school music directors for the role they play on a daily basis in developing musical skills. Aaron Jacobs, Avon High School David Eddleman, Avon Lake High School Lisa Goldman, Beachwood High School Steven Cocchiola, Brecksville-Broadview Heights High School Jay Wardeska, Brunswick High School Matthew Cotton, Campus International High School Kendra Karriker, Chagrin Falls Middle School & High School Brett Baker, Cleveland Heights High School Michael Foster, Copley-Fairlawn High School Rachel Blenman Caldwell, Crestwood High School Dustin Harris, Cuyahoga Falls High School Gregory Smith, Elyria High School Hillery Needham and Pete Cibulskas, Fairview High School Katherine Ferguson, Firestone Community Learning Center David Kilkenney, Gilmour Academy Linda Simon-Mietus, Hathaway Brown School Kyra Mihalski and Jodie Ricci, Hawken School Greg Rezabek, Howland High School Roberto Iriarte and Beverly O’Connor, Hudson High School Richard Kibler, Lake High School Elizabeth Hankins and Dale Hildebrand, Lakewood High School Cara Tweed, Laurel School Michael Moyseenko, Manchester High School Jason Locher, Medina High School Matthew Yoke, Mentor High School Erik Kalish, North Olmsted High School David Vitale, North Royalton High School Leonard Gnizak and Audrey Melzer, Oberlin High School Darren LeBeau, Revere High School Michael Komperda, Rocky River High School William Hughes, Donna Jelen, and Jason Clemens, Shaker Heights High School Gerald MacDougall and Mark Mauldin, Solon High School Lew Friend, St. Peter’s High School Rebecca McGown, Stow Munroe Falls High School Andrew Hire, Strongsville High School Daniel Singer-Sords, University School David Banks, Walsh Jesuit High School Margaret Karam, Western Reserve Academy Hilary Patriok, Westlake High School
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Appreciation
2 019 - 2 0 S E A S O N
Eastman
The
Experience Learn
from a dedicated residential faculty
Belong
to a vibrant community
Discover
your own path
For more information visit esm.rochester.edu/admissions
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2 019 - 2 0 S E A S O N
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: Music Explorers (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older).
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Dreams can come true
Cleveland Public Theatre’s STEP Education Program Photo by Steve Wagner
... WITH INVESTMENT BY CUYAHOGA ARTS & CULTURE Cuyahoga Arts & Culture (CAC) uses public dollars approved by you to bring arts and culture to every corner of our County. From grade schools to senior centers to large public events and investments to small neighborhood art projects and educational outreach, we are leveraging your investment for everyone to experience.
Your Investment: Strengthening Community Visit cacgrants.org/impact to learn more.
Opportunities to Perform T H E C L E V E L A N D O R C H E S T R A believes in the power of music to transform lives.
The Orchestra sponsors several ensembles for student singers or instrumentalists looking to pursue their interest in music. Students selected through auditions have the unparalleled opportunity to work closely week in and week out with professional musicians and conductors, who immerse them in the high standards and traditions of artistic excellence of a world-class orchestra. In addition to significant skill-building and beautiful musicmaking — and the academic and developmental benefits that come with rigorous music study — participants forge lifelong friendships and come to regard Severance Hall as their musical home. C L E V E L A N D O R C H E S T R A
Founded in 1986, the Cleveland Orchestra Youth Orchestra provides a unique preprofessional experience for musicians in grades 7-12. Players rehearse weekly and perform in Severance Hall, are directed by a member of The Cleveland Orchestra’s conducting staff, and receive coaching from Cleveland Orchestra musicians. Membership is by competitive auditions held in May. For information, please call the Cleveland Orchestra Youth Orchestra at 216-2317352 or visit www.ClevelandOrchestraYouthOrchestra.com.
Youth Orchestra
C L E V E L A N D O R C H E S T R A
The Cleveland Orchestra Youth Chorus was founded in 1991 to help raise awareness of choral music-making in the schools of Northeast Ohio and to encourage more students to continue their choral activities through college and into adulthood. Members of the Youth Chorus have the opportunity to perform concerts in the greater Cleveland community as well as onstage at Severance Hall alongside their colleagues in the Youth Orchestra. Members of the Youth Chorus are chosen through auditions. For more information, please call the Chorus Office at 216-231-7374 or email chorus@clevelandorchestra.com.
Youth Chorus
C L E V E L A N D O R C H E S T R A The Cleveland Orchestra Children’s Chorus was founded in 1967 and is comprised of Children’s Chorus students in grades 6-9. The group performs regularly with The Cleveland Orchestra and Cleveland Orchestra Chorus. The Children’s Preparatory Chorus is comprised of students in grades 5-8 and collaborates with the Children’s Chorus in two concerts each season. Participation in each ensemble helps students develop their leadership skills through music and works to strengthen their abilities for future musical experiences. For more information, please call the Chorus Office at 216-231-7374 or email chorus@clevelandorchestra.com.
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Student Performance Ensembles
SEVERANCE HALL
My Cleveland Orchestra Journey From high-school student to professional musician by Eliesha Nelson, viola
My name is Eliesha Nelson, and while I’ve been a violist in The Cleveland Orchestra for nineteen years, my journey with this incredible ensemble and organization truly began thirty years ago when I auditioned for one of America’s premier training ensembles for high-school students, the Cleveland Orchestra Youth Orchestra, known affectionately inside Severance Hall as “COYO” (pronounced “coy-oh”). I'm truly honored and proud to be the first-ever COYO alum to become a Cleveland Orchestra musician. I joined the Youth Orchestra in 1989 after moving from Alaska to study in the Cleveland Institute of Music’s Young Artist Program. Attending a new high school and living in a new city without my family was difficult, but COYO quickly became my home away from home.
Every time I pick up my instrument, I am reminded that the many hours of practice are ultimately for the audience, to help concertgoers of all ages make an emotional connection to the music.
I am grateful for those formative years and for the incredible opportunities COYO afforded me. I was able to learn from some of the world’s greatest musicians who taught me how to craft a musical phrase that touches the heart of the listener – a skill and understanding that still influences my playing today. The Cleveland Orchestra Youth Orchestra not only gave me world-class training in classical music, it taught me to listen, to observe, and to empathize at an impressionable time in my life. Now every time I pick up my instrument, I am reminded that the many hours of practice are ultimately for the audience, to help concertgoers of all ages make an emotional connection to the music.
I know from talking with other COYO alums (three of whom are my colleagues at The Cleveland Orchestra!) that even those who haven’t pursued music as a profession benefited from their studies, and truly value music and the arts as a vital part of experiencing and understanding life. As an Orchestra musician, I have the honor of coaching today’s bright COYO students who will go on to excel in a variety of fields. It is so special that I can now give back to these hard-working young For For more more information information on on COYO, COYO, people in the same way others did for me all please please contact contact Lauren Lauren Generette: Generette: those years ago, and it’s a beautiful reminder of phone: 216-231-7352 216-231-7352 phone: email: coyo@clevelandorchestra.com coyo@clevelandorchestra.com email: the importance of music education. A portion of operating support for the Cleveland Orchestra Youth Orchestra is generously provided by the Martha Holden Jennings Foundation. Endowment support is provided by The George Gund Foundation and Christine Gitlin Miles. Touring support provided by the Jules and Ruth Vinney Cleveland Orchestra Youth Orchestra Touring Fund.
To To support support COYO, COYO, please please visit visit clevelandorchestra.com/donate clevelandorchestra.com/donate or contact Joshua Landis: or contact Joshua Landis: phone: 216-456-8400 216-456-8400 phone: email: donate@clevelandorchestra.com donate@clevelandorchestra.com email:
BELIEVE IN YOUR NEXT NOTE... WE DO. CONSERVATORY of MUSIC Study with the best. From faculty who are artists and scholars committed to your success. Baldwin Wallace University, Berea, Ohio 44017
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Baldwin Wallace University does not discriminate on the basis of race, creed, age, disability, national origin, gender or sexual orientation in2 the0administration 1 9 - 2 0of anySpolicies E A SorOprograms. N