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CLEVELAND ORCHESTRA
Youth Orchestra . V I N AY PA R A M E S WA R A N
M U S I C D I R E C TO R
CLEVELAND ORCHESTRA
Youth Chorus . DA N I E L S I N G E R
March 1, 2O20 Severance Hall
D I R E C TO R
Eastman
The
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Prelude Concert For more information visit esm.rochester.edu/admissions
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Prelude Concert Cleveland Orchestra Youth Chorus
Sunday evening, March 1, 2020, at 6:00 P. M. in Reinberger Chamber Hall at Severance Hall Prior to each Cleveland Orchestra Youth Orchestra and Youth Chorus concert at Severance Hall, a special Prelude Concert takes place featuring chamber music performances. This evening’s choral pieces feature the singers of the Cleveland Orchestra Youth Chorus’s Chamber Ensemble (see page 13 for roster designation of these chamber singers).
Cleveland Orchestra Youth Chorus Chamber Ensemble conducted by Adam Landry with Jacob Bernhardt, piano AARON COPLAND
Zion’s Walls
(1900-1990)
(arranged by Glenn Koponen)
ANONYMOUS
David’s Song Upon Absalom
(circa 1600)
(edited by James Dearing and Daniel Singer) sung a cappella
ELAINE HAGENBERG
O Love
(b. 1979)
SEVERANCE HALL
Prelude Concert
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School Music Teachers The members of the Cleveland Orchestra Youth Orchestra and Youth Chorus express gratitude to their school music directors for the role they play on a daily basis in developing musical skills. Aaron Jacobs and Michael Moyseenko, Avon High School David Eddleman and Michael Lisi, Avon Lake High School Lisa Goldman and Darlene Haight, Beachwood High School Lisa Litteral, Beaumont School Steven Cocchiola and Emily Garlock, Brecksville-Broadview Heights High School Jay Wardeska, Brunswick High School Matthew Cotton, Campus International High School Nathan Bachofsky, Chagrin Falls High School Kendra Karriker, Chagrin Falls Middle School & High School Brett Baker, Cleveland Heights High School Michael Foster, Copley-Fairlawn High School Angela Adkins, Crestwood High School Dustin Harris, Cuyahoga Falls High School Jennifer Moore, Cuyahoga Valley Christian Academy Kalee Bondzio and Gregory Smith, Elyria High School Pete Cibulskas, Chrissy Karliak, and Hillery Needham, Fairview High School Katherine Ferguson, Firestone CLC Caroline Holtz and David Kilkenney, Gilmour Academy Katherine Lauson-Iriarte, Harmon Middle School Linda Simon-Mietus and Laura Webster, Hathaway Brown School Kyra Mihalski and Jodi Ricci, Hawken School Christopher Ilg, Highland High School Greg Rezabek, Howland High School Roberto Iriarte and Beverly O’Connor, Hudson High School Gretchen Obrovae, Independence High School Ben Richard, iSTEM Geauga Early College High School Jennifer Vaughn, Jackson High School Julia Green, Kenston High School Suzanna Adkins, Kirtland High School
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Scott Posey, Lake Catholic High School Richard Kibler, Lake High School Todd Christopher, Lake Ridge Academy Ben Richard, Lakeland Community College Elizabeth Hankins and Dale Hildebrand, Lakewood High School Joel McDaniel and Cara Tweed, Laurel School Mark Langley, The Lyceum Michael Moyseenko, Manchester High School Jason Locher, Medina High School Glenn Kulma, Memorial High School Adam Landry and Matthew Yoke, Mentor High School Caleb Baldwin, Newbury High School Erik Kalish, North Olmsted High School David Vitale, North Royalton High School Leonard Gnizak and Audrey Melzer, Oberlin High School Claire Connelly and Paula G. Snyder, Orange High School Elizabeth Singer, Perry High School Darren LeBeau, Revere High School Glenn Obergefell, Riverside High School Michael Komperda, Rocky River High School Kathleen Cooper, Saint Joseph Academy Lew Friend, Saint Peter’s High School Jason Clemens, Mario Clopton-Zymler, William Hughes, and Donna Jelen, Shaker Heights High School Gary Lewis, Gerald MacDougall, and Mark Mauldin, Solon High School Greg Newman, Stow Munroe Falls High School Andrew Hire and Brian King, Strongsville High School 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 Jennifer Butler and Hilary Patriok, Westlake High School
Appreciation
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CLEVELAND ORCHESTRA
CLEVELAND ORCHESTRA
Youth Orchestra .
Youth Chorus .
M U S I C D I R E C TO R
DA N I E L S I N G E R
D I R E C TO R
Sunday evening, March 1, 2O2O, at 7:OO 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 FELIX MENDELSSOHN (1809-1847)
Hör’ mein Bitten [Hear My Prayer] MARTINA JANKOVÁ, soprano CLEVELAND ORCHESTRA YOUTH CHORUS
ARVO PÄRT (b. 1935)
In Principio (for orchestra and chorus) 1. 2. 3. 4. 5.
In principio erat Verbum Fuit homo missus a Deo Erat lux vera Quotquot autem acceperunt sum Et Verbum caro factum est
CLEVELAND ORCHESTRA YOUTH CHORUS
INTERMISSION IGOR STRAVINSKY (1882-1971)
Suite from The Firebird (1945 version) Introduction — The Firebird, Its Dance, and Variations — Pantomime I — Pas de deux — Pantomime II — Scerhzo (Dance of the Princess) — Pantomime III — Rondo — Infernal Dance — Berceuse (Lullaby) — Final Hymn
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, June 14, at 4:00 p.m. and again on Saturday, August 22, at 8:00 p.m.
SEVERANCE HALL
Concert Program
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CLEVELAND ORCHESTRA
Youth Orchestra .
V I N AY PA R A M E S WA R A N
M U S I C D I R E C TO R
FIRST VIOLIN
SECOND VIOLIN
CELLO
FLUTE
Moonhee Kim
Owen Lockwood
Ania Lewis
CONCERTMASTER
PRINCIPAL
PRINCIPAL
Mariana Anjali Castañeda
Beachwood High School
Shaker Heights High School
Gilmour Academy
Henry Rogers
Ayaka Coffman
Theodora Bowne
ASSISTANT CONCERTMASTER
ASSISTANT PRINCIPAL
ASSISTANT PRINCIPAL
Andrews Osbourne Academy
Samantha Ma Revere High School
Tal Yankevich Beachwood High School
Lizzy Huang Shaker Heights High School
Moshi Tang Hawken School
Andrew Hu Hudson High School
Jason Zhang Hudson High School
Ella Cole Homeschooled
Kevin Si Hudson High School
Annabelle Abbott Shaker Heights High School
Jasmine Shone Hawken School
George Wang Hawken School
Nathan Hsiao Westlake High School
Erica Nie Brecksville-Broadview Heights High School
Archbishop Hoban High School
Neige DeAngelis Hathaway Brown School
Marina Ziegler Copley High School
Enzo Zhou Western Reserve Academy
Hansen Song Chagrin Falls High School
Alex Luo Solon High School
Richard Jiang Solon High School
Kate Goldberg Laurel School
Wendi Song
Adriana Krauss P
Shaker Heights High School
Oberlin High School
David Cho
Vardaan Shah S
Hudson High School
Strongsville High School
Grace Gill
Lily Waugh
Lakewood High School
Cleveland Heights High School
Katarina Davies Homeschooled
PICCOLO
Anna Goldberg
Mariana Anjali Castañeda P
Laurel School
Matthew Kwok Walsh Jesuit High School
OBOE
Eleanor Pompa
Yiyang Fu M
Laurel School
Avon High School
Kwabena Owusu
Leo Sherwood P
Solon High School
Hawken School
Avery Maytin
Zach Walker S
Shaker Heights High School
Manchester High School
Chagrin Falls High School
Christina Bencin Hathaway Brown School
Caroline Jung Hathaway Brown School
Carol Huang Hathaway Brown School
Zihao Qing Solon High School
Andrew Maxwell Homeschooled
Ehren Collins University School
Campus International High School
BASS
Ginger Deppman PRINCIPAL
Oberlin High School
Kristen Nedza ASSISTANT PRINCIPAL
Solon High School
Mason Mihalek Hudson High School
Mitchell Likovetz Homeschooled
Ashley Cvetichan Mentor High School
ENGLISH HORN
PRINCIPAL
Alexis Wilson P
Elyria High School
Damian Rutti ASSISTANT PRINCIPAL
CLARINET
Mentor High School
Cirrus Rowland-Seymour Shaker Heights High School
Jacqueline Marshall JoHanna Arnold Fairview High School
Michael Yuhos Hudson High School
Jamie Park
Charlie King M Cleveland Heights High School
Shuta Maeno S Shaker Heights High School
Kevin Maxwell P Saint Peter’s High School
Megan Zhao Hudson High School
Hawken School
Mark Yost Mentor High School
Jonathan Jacques Shaker Heights High School
Hudson High School
Gunnar Brennecke
Crestwood High School
Maxwell Moses
Laurel School
VIOLA
Alexis Wilson
BASSOON
Nicholas Taylor P North Royalton High School
Luis Torres M Fairview High School
HARP
Allen Jiang P **
Anastasia Seckers S
CONTRABASSOON
Lakewood High School
Allen Jiang S **
Mikinzie Bumbarger Mentor High School
Claire Peyrebrune**
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Youth Orchestra
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HORN
TROMBONE
PERCUSSION
Hyejin Suzie Lee S
Billy Brown P
Tim Barron
Stow Munroe Falls High School
William Lowe North Olmsted High School
Gina Marjanovic
P
Lakewood High School
Maria Scotto di Uccio Howland High School
Taylor Sobol
Lake High School
Solon High School
Felicia Goggins
Nicole Buckland Alexa Clawson Brian Randall
MANAGER
PIANO
LIBRARIAN
Jason Zhang S
Kennedy McKain
Firestone Community Learning Center
Juyoung Lee S Ryan Yonek Brunswick High School
Hudson High School
M
Hawken School
TRUMPET
Lauren Generette
Westlake High School
TUBA
Will Bowers P S Cuyahoga Falls High School
Jessica Barrick Westlake High School
Dasara Beta Rocky River High School
Ethan Hartman P Strongsville High School
Brett Nickolette S Avon Lake High School
TIMPANI
Nicole Buckland M
WOODWIND, BRASS, AND PERCUSSION PERFORMERS ARE LISTED ALPHABETICALLY.
Medina High School
Alexa Clawson P Shaker Heights High School
Brian Randall S Firestone Community Learning Center
PRINCIPAL PLAYERS
= Mendelssohn = Pärt S = Stravinsky ** = extra/substitute musician
M P
The Cleveland Orchestra Youth Orchestra is supported by a grant from the Martha Holden Jennings Foundation and by many other donations toward The Cleveland Orchestra’s education and commmunity programs 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 eight endowed Youth Orchestra chairs have been created in recognition of generous gifts to The Cleveland Orchestra’s endowment: Concertmaster, Daniel Majeske Memorial Chair Principal Viola, Anthony T. and Patricia A. Lauria 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 Office of Philanthropy & Advancement by calling 216-231-8006.
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CLEVELAND ORCHESTRA
Youth Orchestra .
P H OTO BY R O G E R MA S T R O I A N N I
V I N AY PA R A M E S WA R A N
T H E 2 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. Members of the Youth Orchestra come from forty communities in a dozen counties throughout Northeast Ohio.
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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
AUDITIONS for the Cleveland Orchestra Youth Orchestra’s 2020-21 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 Sunday, 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.
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 with 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
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SEVERANCE HALL
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CLEVELAND ORCHESTRA
Youth Chorus . DA N I E L S I N G E R
Yasmin Ahuja Hathaway Brown
Autumn L. Airey Newbury High School
Grace Allen Beachwood High School
Maria Avila Aurora High School
Julie Beardslee Mentor High School
Audrey Beleiu Cuyahoga Valley Christian Academy
Leah Benko * Ohio Virtual Academy
Liam Bennett Mentor High School
Adam M. Bonnet * Harmon Middle School
Natalya Bricker Orange High School
Anna Buescher Chagrin Falls High School
Katelyne Crouch Cleveland State University
Sasha Desberg Case Western Reserve University
Taniya Dsouza * Gilmour Academy
Alex Dutton Riverside High School
Evgenia Evdokimenko Solon High School
D I R E C TO R
Mariana Gomez Zoey Grandstaff
Brecksville-Broadview Heights High School
Jackson High School
Beaumont School
Avon Lake High School
Kenston High School
Mentor High School Orange High School Riverside High School
Lake Ridge Academy
Sasha Turner Hawken School
Charles Norman University School
Amy Wang Solon High School
Laura Obergefell * Lake Catholic High School
Sam Webster * Mentor High School
Antony Peng University School
Charles C. Williams IV Strongsville High School
Grace Prentice * Mentor High School
Sydney Wilson Independence High School
Victoria Rasnick * Strongsville High School
Ishani Zimmerman Mentor High School
Destiny Reese Elyria High School
University School
Graham Richard *
Megan Kim
Homeschooled
Oliver Richard *
Cordelia Klammer Mentor High School
Mentor High School
Connie Tian
Elizabeth Morse
Sohum Kapadia Westlake High School
Soren Stavnicky
Amelia Morra *
Joe Kaffen Shaker Heights High School
Emma Smith
Teresa Morek
Anna Claire Ingram Solon High School
Ashlyn Slocum Mentor High School
Highland High School
Millie Houston *
* denotes member of
Homeschooled
Simon Richard *
Rachel Kovatich Sophie Kwiatkowski
Avon Lake High School
Chagrin Falls High School
Micah Hofer Mentor High School
Cuyahoga County Community College
Grace Mino *
Mary Ann Hoelzel
Strongsville High School
Abby Golden *
Laurel School
Seth Hobi * Lakeland Community College
Mentor High School
Josh Shearer
Ian Meil
Maria Hisey *
Kirtland High School Fairview High School
University School
Lizzie Heiner Twinsburg High School
Ava Schick
Catherine Martin
Mentor High School
Lydia Greer
Mentor High School
Krish Malte *
Mentor High School
Owen Greene
Audrie Ryan *
Laurel School
Lakeland Community College
Kiersten Grantz
Spencer Fortney * Bella George
Sarah Malarney
The Lyceum
iSTEM Geauga Early College High School
the Chamber Chorus performing on the Prelude Concert (see page 3).
Shira Rosenberg
Mentor High School
Hathaway Brown
William Lindsay III Avon High School
Diana Lucic Mentor High School
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
Becca Varadan
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Youth Chorus
13
Directors of the
Cleveland Orchestra YOUTH CHORUS Gareth Morrell 1991-1998
Betsy Burleigh 1998-2006
Frank Bianchi 2006-2012
Lisa Wong T H E 2 0 1 9 - 2 0 S E A S O N marks the
Cleveland Orchestra Youth Chorus’s 29th season. The ensemble was founded in the spring of 1991 to help raise awareness of choral music-making in the schools of Northeast Ohio and to encourage students to continue their choral singing activities through college and into adulthood. The Youth Chorus provides a unique opportunity for talented singers in grades nine through twelve to work together under professional guidance beyond their high school experience and to perform works from the standard choral-orchestral repertoire in collaboration with the Cleveland Orchestra Youth Orchestra. The members of the Cleveland Orchestra Youth Chorus are selected through competitive auditions held each spring. This season, the members represent more than forty schools and communities from 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-
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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. Before 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.
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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 2020-21 Season are open to students entering grades 9-12 in the spring and autumn of 2020, as well as 8th grade boys with changed voices. For information about audition dates for the 2020-21 season, please send an email to chorus@clevelandorchestra.com, call 216-231-7374, or visit www.coyc.cochorus.com.
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CarnegieMellonMusic @CMUmusic
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T CarnegieMellonMusic
MUSIC.CMU.EDU
Hear My Prayer by Felix Mendelssohn composed 1844
A
LT H O U G H B O R N into a family descended from
a promenent Jewish line, Felix Mendelssohn was raised Protestant. His father converted his family to gain access to more acceptance in wider society across Germany. Such conversions to Christianity were quite common at the time among the middle class, without much questioning of the inherent pressure — sometimes subtle, Felix sometimes flagrant — toward doing so. MENDELSSOHN The family was well off, and young Felix and his sibborn February 3, 1809 lings were afforded excellent schooling and excelled in in Hamburg, Germany many things. Felix’s scientific studies were strong, as was died November 4, 1847 his interest in the arts, showing a real aptitude both for in Leipzig, Germany music and drawing. At one point, he considered becoming a writer as his career. Encouraged by one of his teachers and an aunt, Mendelssohn became interested in the works of Johann Sebastian Bach, unusual in an era that cared more about new music — and allowed older works to be forgotten and unperformed. Mendelssohn helped lead renewed interest in Bach’s works, and at the age of twenty-two led a famously rare performance in Berlin of the older master’s Saint Matthew Passion. In fact, Mendelssohn became a strong force in Protestant music, writing two great sacred oratorios (Elijah and Saint Paul) along with many shorter works, as well as revising and standardizing a variety of hymns. Two of his symphonies were written with religious subjects and anniversary celebrations in mind. While Mendelssohn’s music was popular in Germany, he was adored in England, which he first visited in 1829. He soon returned as a recognized and admired composer, with Queen Victoria counting him as a friend and asking him to visit. In Britain, his settings of religious texts helped create a new wave of interest in choral singing — with dozens, perhaps hundreds of local choruses established to celebrate and share community, friendship, and God. Mendelssohn wrote “Hear My Prayer” in 1844 at the request of William Bartholomew, who created English singing texts for most of Mendelssohn’s vocal works. The composer wrote the piece to a German text offered by Bartholomew. It was premiered in England in 1845, using Bartholomew’s English singing text, by which it has become well known. The final section, known by its English text as “O, for the wings of a dove!,” is often performed separately. The entire piece works well as a whole, however, offering superb examples in a short work of Mendelssohn’s writing both for the chorus and the soprano soloist. The piece is divided into four sections, with the third acting as a solo recitative leading directly into the finale. Performance Time: 10 minutes See following pages for sung text.
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About the Music
17
Hear My Prayer [Hör’ mein Bitten]
Psalm 55
This evening’s performance is sung in German. The English shown here is a translation of that German, rather than the alternate English text used most often when the work is sung in English.
1. Hör’ mein Bitten, Herr, neige dich zu mir, auf deines Kindes Stimme habe Acht! Ich bin allein; wer wird mein Tröster und Helfer sein? Ich irre ohne Pfad in dunkler Nacht!
Hear my prayer, O Lord, listen to me! Pay attention to your child’s voice. I am alone. Who will comfort and help me? I have no path in the dark of night.
2. Die Feinde sie droh’n und heben ihr Haupt: “Wo ist nun der Retter, an den ihr geglaubt?” Sie lästern dich täglich, sie stellen uns nach und halten die Frommen in Knechtschaft und Schmach.
Enemies threaten and raise their voices: “Where is the Savior you believe in now?” They denigrate your name every day, chasing our dreams and keep the pious in bondage and disgrace!
Manhattan School of Music
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it all happens here. 18
Sung Text and Translation
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Recitative: Mich fasst des Todes Furcht bei ihrem Dräu’n. Sie sind unzählige — ich bin allein; mit meiner Kraft kann ich nicht widersteh’n; Herr, kämpfe du für mich. Gott, hör’ mein Fleh’n!
I am afraid of death advancing upon me. the terror of death overwhelms — l am alone; I cannot resist with my pitiful strength Lord, fight for me. God, hear my prayer!
3. O könnt’ ich fliegen wie Tauben dahin, weit hinweg vor dem Feinde zu flieh’n! in die Wüste eilt’ ich dann fort, fände Ruhe am schattigen Ort.
O, if I could have the wings of a dove in order to flee far from the enemy! I would hurry into the wilderness to find eternal peace and rest.
SOLOIST
Martina Janková Swiss soprano Martina Janková has sung in opera houses and with orchestras across Europe, and is acclaimed among the leading Mozart performers today. She began her musical training in the Czech Republic, and was later a prizewinner at Germany’s Neue Stimmen International Singing Competition. She first worked with Franz Welser-Möst at the International Opera Studio in Zurich, and has been a leading member of the Zurich Opera since 1998. Ms. Janková’s current season features performances of Schubert at Vienna’s Konzerthaus and of Mahler at the Musikverein, as well as singing Clorinda in Rossini’s La Cenerentola in Zurich with Cecilia Bartoli in the title role. A regular guest at the Salzburg Festival, she has also sung at festivals in Geneva, Graz, Lucerne, and Vienna, and at the Janáček Spring Festival. Her discography includes several solo albums, as well as DVDs of Johann Strauss Jr.’s Simplicius for EMI with Welser-Möst conducting, along with Mozart’s The Marriage of Figaro, Così fan tutte, and Don Giovanni. Martina Janková made her Cleveland Orchestra debut in 2009, and has returned regularly since that time, most recently in May 2019. She sings as soloist with The Cleveland Orchestra in performances of Mendelssohn’s Hymn of Praise this next weekend, March 5, 7, and 8. For more information, visit www.martinajankova.com.
SEVERANCE HALL
Sung Text and Soloist
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In Principio by Arvo Pärt
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composed 2002-03
T I S O F T E N C L A I M E D that Arvo Pärt is the
“most performed living composer” in the world today. However one slices or counts the deck to get to that claim — live performances? recordings? streaming? radio? — it is an incredible boast. Yet, whether real or fake news, one thing is clear: Pärt’s music is popular, Arvo pleasing, and persistent. PÄRT It was not always so. Across the decades, Pärt reevaluated his thinking — and changed the style of his born September 11, 1935 music drastically — several times. As a young man, he in Paide, Estonia served as a drummer in the Estonian army, then trained living in at the Tallinn conservatory and worked for the state raLaulasmaa, Estonia dio department. Behind the communist Iron Curtain, he scored over fifty films before starting to protest through his music by writing in a very atonal way that Soviet authorities and their Estonian compatriots denounced. He and his family were forced to leave the country, working in exile from Vienna and Berlin for the next three decades — before returning to live in his Estonian homeland by then freed from communist rule. Ultimately, some personal crises caused him to turn strongly back to religion and to study older liturgical music. From this, he began composing in a more accessible and harmonious style, related to older chant and choral writing. He also joined the Russian Orthodox church, and pursued hours of meditation. In 1976, he began composing in a new style, which he described as tintinnabulation, meaning “the music of the bells.” “I have discovered that it is enough when a single note is beautifully played,” Pärt has explained. “This one note, or a silent beat, or a moment of silence, comforts me. I work with very few elements — with one voice, with two voices. I build with the most primitive materials — with a triad, with one specific tonality. The three notes of a triad are like bells. And that is why I call it tintinnabulation.” From all of this, Pärt’s music provides a singular style, at once modern and rooted in the past, ethereal and grounded, meditative yet filled with a sense of direction. He wrote In Principio in 2002-03, continuing a series of new choral-orchestral works and using as text the preface to the Gospel of John (1-14): 1. In principio erat Verbum et Verbum erat apud Deum et Deus erat Verbum. Hoc erat in principio apud Deum. Omnia per ipsum facta sunt et sine ipso factum est nihil quod factum est.
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In the beginning was the Word, and the Word was with God, and the Word was God. The same was in the beginning with God. All things were made by him; and without him was not any thing made that was made.
About the Music
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In ipso vita erat et vita erat lux hominum. Et lux in tenebris lucet et tenebrae eam non conprehenderunt.
In him was life; and the life was the light of all. And the light shineth in darkness; and the darkness comprehended it not.
2. Fuit homo missus a Deo cui nomen erat Iohannes. Hic venit in testimonium ut testimonium perhiberet de lumine ut omnes crederent per illum. Non erat ille lux sed ut testimonium perhiberet de lumine.
There was a man sent from God, whose name was John. The same came for a witness, to bear witness of the Light, that all through him might believe. He was not that Light, but was sent to bear witness of that Light.
3. Erat lux vera quae inluminat omnem hominem venientem in mundum. In mundo erat et mundus per ipsum factus est et mundus eum non cognovit. In propria venit et sui eum non receperunt.
That was the true Light, which lighteth everyone that cometh into the world. He was in the world, and the world was made by him, and the world knew him not. He came unto his own, and his own received him not.
4. Quotquot autem receperunt eum dedit eis potestatem filios Dei fieri his qui credunt in nomine eius. Qui non ex sanguinibus neque ex voluntate carnis neque ex voluntate viri sed ex Deo nati sunt.
But as many as received him, to them gave the power to become the sons of God, even to them that believe on his name: Which were born, not of blood, nor of the will of the flesh, nor of the will of any, but of God.
5. Et Verbum caro factum est et habitavit in nobis et vidimus gloriam eius gloriam quasi unigeniti a Patre plenum gratiae et veritatis. Gloria Tibi Domine.
And the Word was made flesh, and dwelt among us, (and we beheld his glory, the glory as of the only begotten of the Father), full of grace and truth. Glory to Thee, O Lord.
Performance Time: 20 minutes
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Sung Text and Translation
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DEGREES
Hugh A. Glauser School of Music
Bachelor’s Master’s Doctorate PROGRAMS Music Education Performance Conducting Ethnomusicology Music Theory/Composition MINORS
DR. JUNGHO KIM
Music | World Music | Jazz Studies
Diireecto or of Orchesstra
AT
KENT STATE
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.
WOOD DWIN NDS
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STR RIN NGS S
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
PE ERCU USSIO ON Matthew Holm
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Suite from The Firebird by Igor Stravinsky suite version of 1945, from the ballet score composed 1909-10
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E R G E I D I A G H I L E V ’ S Paris-based Ballets Russes
was one of the greatest dance companies in history. Diaghilev, the director, combined the soul of a brilliant artist with the mind and skills of a shrewd businessman. He was committed to creating exciting and innovative productions, and he sought out the best Igor dancers, artists, and composers available. For two deSTRAVINSKY cades from the company’s formation in 1909, he worked born June 17, 1882 with or discovered many of the most creative artists in in Oranienbaum, Russia the city — dancers, choreographers, painters, and comdied April 6, 1971 posers. The scores created for him included works by in New York City Debussy, Ravel, Prokofiev, and Falla. Despite all that success, musically Diaghilev never made a more sensational nor a more fruitful discovery than when he engaged the 27-year-old Igor Stravinsky in 1909 to write music for Michel Fokine’s new ballet for the next season, The Firebird. It was the start of a long collaboration, which eventually gave the world a series of groundbreaking scores — Pétrouchka, The Rite of Spring, Les Noces, Mavra, and Apollon Musagète — and which ended only with Diaghilev’s death in 1929. For many years — centuries even — there had already been a great affinity between Russia and France, in the arts and in politics. Years after Napoleon’s failed invasion of Russia at the start of the 19th century, an alliance between the two countries had bridged many of their past differences. In addition, France had always been a strong presence in Russia, where French had long been the language of the educated classes and where French sophistication was emulated and pined for by the ruling elites. At the same time, the geographical distance and the difference in cultures meant that Russian things seemed to have an exotic flavor in the eyes (and ears) of the French. To create a story of an appropriately exotic flavor, Fokine used several Russian fairytales within the scenario of The Firebird. He took the stories of the beneficent Firebird and the evil ogre Kashcheï-the-Immortal and combined them together into an ingenious plot, which Eric Walter White has summarized in his book on Stravinsky as follows: “A young Prince, Ivan Tsarevich, wanders into Kashcheï’s magic garden at night in pursuit of the Firebird, whom he finds fluttering round a tree bearing golden apples. He captures it and extracts a feather as forfeit before agreeing to let it go. He then meets a group of 13 maidens and falls in love with one of them, only to find that she and the other 12 maidens are princesses under the spell of Kashcheï. When dawn comes and the princesses have to return to Kashcheï’s palace, Ivan breaks open the gates to follow them inside; but he is captured by Kashcheï’s guardian monsters and is about to suffer the usual penalty of petrifaction, when he remembers the magic feather. He waves it; and at his summons the Firebird appears and reveals to him the secret of Kashcheï’s immortality (his soul, in the form of an egg, is preserved in a casket). Opening the casket, Ivan smashes the vital egg, and the ogre
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About the Music
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immediately expires. His enchantments dissolve, all the captives are freed, and Ivan and his Tsarevna are betrothed with due solemnity.”
At first, the music for The Firebird ballet was to be written by the Russian composer Nikolai Tcherepnin. But Tcherepnin withdrew from the project. Next, Diaghilev approached both Anatol Liadov and Alexander Glazunov. But, for whatever reasons, he could not come to terms with any of these more experienced composers. And so Diaghilev talked to Stravinsky about the project. Stravinsky had already done some work for the Ballets Russes as an orchestrator, and the young composer’s short orchestral piece Fireworks had greatly impressed him. Honored by the commission, Stravinsky put aside his own work to write the ballet instead. To describe the magic world of fairybirds and evil sorcerers, Stravinsky had a whole tradition to build on, a tradition he had inherited from his teacher RimskyKorsakov. In the last years before his death in 1908, Rimsky-Korsakov had written three operas on fantastical subjects, one of which was titled Kashcheï the Immortal. In these operas — and in a number of other works also — Rimsky-Korsakov made ample use of a special scale Russian musicians came to know as the “Rimsky scale,” which Stravinsky chose to use in The Firebird. (This scale, also known as the “octatonic” scale, consists of the regular alternation of half-steps and whole steps.) This particular grouping of tones, lying outside the major-minor system, is associated with the evil Kashcheï in Stravinsky’s score. The music portraying the magical Firebird itself is also chromatic in nature, related in part to the Kashcheï music. The motifs of the Tsarevich, on the other hand, are more traditionally based on the seven-note Western scale and derived from a particular type of Russian folksong known as the “long-drawn-out song” [protyazhnaya pesnya]. Thus, although both the storyline and the musical styling of the ballet score grew out of strong Russian traditions, both seemed highly original in the West. For all the Rimsky influence, however, Stravinsky’s first ballet also shows a remarkable degree of individuality. The handling of rhythm in particular is quite innovative, and the orchestration reveals the hand of a true young master. It is little wonder that The Firebird remained Stravinsky’s most popular work throughout his long life. He conducted hundreds of performances himself — mostly in the form of suites drawn from the complete score. Stravinsky created three of these, one in 1911 and another in 1919, which soon became the most popular version. In 1945, he made a new suite — in part, to renew the copyright on the musical material, but also to reduce the orchestration in order to make the work accessible to more orchestras. All in all, the suites are masterful condensations of music that spans many moods and culminates in a large-scale and exciting finale. Performance Time: 30 minutes PROGRAM NOTES BY ERIC SELLEN AND PETER LAKI © 2020.
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About the Music
SEVERANCE HALL
We love seeing young people at concerts! 20% of our audience is under the age of 25. Your donations underwrite tickets for thousands of Northeast Ohio’s youngest music lovers each year. Thank you.
PHOTO BY ROGER MASTROIANNI
To join our donor family, visit clevelandorchestra.com/donate For more information, contact: Joshua Landis, 0DQDJHU RI ,QGLYLGXDO *LYLQJ phone: 216-456-8400 email: annualgiving@clevelandorchestra.com
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Youth Orchestra Coaching Staff These members of The Cleveland Orchestra are serving as coaches for the Cleveland Orchestra Youth Orchestra. VIOLIN
WOODWIND
PERCUSSION
Peter Otto
Jessica Sindell
Thomas Sherwood
FIRST ASSOCIATE CONCERTMASTER
Kathleen Collins VIOLA
Stanley Konopka
ASSISTANT PRINCIPAL FLUTE
Frank Rosenwein
Richard Weiss
BASS
PRINCIPAL
ASSISTANT PRINCIPAL OBOE
Corbin Stair
EMERITUS
OBOE
Yoko Moore
Robert Woolfrey
VIOLIN EMERITUS
CLARINET
Catharina Meints Caldwell
Gareth Thomas
CELLO EMERITUS
BASSOON
FIRST ASSISTANT PRINCIPAL
David Alan Harrell
Joela Jones
Jeffrey Rathbun
ASSISTANT PRINCIPAL
CELLO
KEYBOARD
PRINCIPAL OBOE
Martin Flowerman BASS EMERITUS
BRASS
John Rautenberg
Hans Clebsch
FLUTE EMERITUS
HORN
Mark Atherton
Phillip Austin
Lyle Steelman HARP
Trina Struble
BASSOON EMERITUS
ASSISTANT PRINCIPAL TRUMPET
James DeSano
Shachar Israel
TROMBONE EMERITUS
ASSISTANT PRINCIPAL TROMBONE
PRINCIPAL
WITH SPECIAL THANKS TO
Yasuhito Sugiyama
Robert O’Brien
PRINCIPAL TUBA
LIBRARIAN
Franz Welser-Möst, Music Director Richard K. Smucker, Board Chair André Gremillet, President & CEO
Education and Community Engagement Joan Katz Napoli, Senior Director Emily Herwerden, Coordinator
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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
SEVERANCE HALL
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
BASS TEACHERS
TRUMPET TEACHERS
Masha Andreini Sibbi Bernhardsson Vladimir Deninzon* Wei-Fang Gu* Olga Kaler Joan Kwuon Jung-Min Amy Lee* Eli Matthews* Kimberly Meier-Sims Sonja Braaten Molloy* Yoko Moore Eugenia Poustyreva Carol Ruzicka Stephen Sims Cara Tweed Barbara Weber Jin Yu
Ann Gilbert Tracy Rowell Bryan Thomas Chris Vance
Nina Bell Rich Pokrywka Lyle Steelman*
VIOLA TEACHERS
Jennifer Magistrelli Tom Reed Amitai Vardi Robert Woolfrey*
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* Ida Mercer Richard Weiss*
TROMBONE TEACHERS FLUTE TEACHERS
Heather Mandujano Andrew Santiago Dawn Schwartz Jessica Sindell* OBOE TEACHERS
Mary Kausek Martin Neubert Corbin Stair* Cynthia Warren CLARINET TEACHERS
Jim Albrecht Michele Kuhar Leland Matsumura Bernard Williams IV TUBA TEACHERS
Justin White PERCUSSION TEACHERS
Matthew Dudack Stephen Klunk Ryun Louie Luke Rinderknecht HARP TEACHERS
Xiao Lei Salovara KEYBOARD TEACHERS
BASSOON TEACHERS
Nancy Bachus
Mark DeMio Andrew Machamer HORN TEACHERS
* Member of The Cleveland Orchestra
Hans Clebsch* Meghan Guegold Rebecca McGown Ben Reidhead Jason Riberdy
The Cleveland Orchestra is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture.
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Appreciation
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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.
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 more information on COYO, people in the same way others did for me all please contact Lauren Generette: those years ago, and it’s a beautiful reminder of phone: 216-231-7352 email: coyo@clevelandorchestra.com 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 support COYO, please visit clevelandorchestra.com/donate or contact Joshua Landis: phone: 216-456-8400 email: donate@clevelandorchestra.com
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 French 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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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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