2021–22 Season Autumn Concert November 21, 2021
1030030_2122- COYO Program - 11.21.21_sw
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A Tuneful Return By Sue Starrett FOR MORE THAN THREE DECADES, nearly everything went like clockwork for the Cleveland Orchestra Youth Orchestra. One season after another, students and staff assembled, rehearsed, and presented concerts onstage at Severance Music Center and performed together in the greater Cleveland area — showcasing new generations of talented instrumentalists. Until a worldwide virus interrupted seemingly everything. But as schools and theaters closed their doors, learning and inspiration continued. As COYO returns to in-person performances for the first time in eighteen months — a span filled with cancelled concerts, online auditions, and Zoom video gatherings as the primary mode of interaction — the Youth Orchestra has grown in many ways, expanding its skills in music making and teamwork. When the 2020–21 season was jeopardized, the ensemble’s team leaders worked to ensure that the program would carry on uninterrupted. Meetings began online, but eventually culminated in an in-person reunion at Blossom Music Center in June 2021. Across these resourceful months, the leaders were driven by the belief that music making fosters a sense of community, regardless of whether the group is together onstage or online. “Good can come from this pandemic,” said Youth Orchestra music director Vinay Parameswaran. “I am proud of the things we’ve done to keep these young musicians engaged. We are reaching students in different ways and helping them develop tools that will benefit them as musicians and young adults.” Initial plans to return to performance at Severance in February 2021 were postponed, but coaching sessions pivoted from a concert-oriented goal to a broader approach. Youth Orchestra manager Lauren Generette said this provided a different opportunity, to “foster the students’ ability to connect to repertoire through new ways of approaching the music.” Taking advantage of Zoom’s lack of geographic limitations, young musicians participated in online conversations with two composers — Jessie Montgomery and Gabriela Lena Frank — and began exploring core symphonic works through virtual discussions with a variety of speakers and guest artists. Parameswaran led the first symphonic seminar session, guiding the students through the score of Beethoven’s Third Symphony, nicknamed “Eroica” or “Heroic.” Guest conductor Nicholas McGegan — who was in Cleveland in
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November to film an episode of the digital concert series In Focus with The Cleveland Orchestra — hosted a second session on this famous symphony, examining the work in the context of art, literature, history, and what was happening in the composer’s life at the time. As follow-up, Cleveland Orchestra section coaches and COYO members continued this deep dive by playing excerpts of the symphony for each other and discussing personal connections to the music in a studio-class format on Zoom. The second semester featured a virtual visit in late January with composerconductor John Adams to discuss his string piece Shaker Loops. A February session focused on Dvořák’s “New World” Symphony (Symphony No. 9) in an engaging and interactive online discussion with Cleveland Orchestra Music Director Franz Welser-Möst. Meanwhile, brass and woodwind coaches held weekly online sessions with their students, holding masterclasses and studying a range of important scores. As clarinet coach Robert Woolfrey said, “The silver lining to this pandemic is that we have had more time with students to talk about repertoire and performance. We can focus on more than the next concert.” His section studied clarinet parts in major orchestral repertoire, beginning with Mendelssohn and Beethoven. Each student listened to several recordings of an assigned work, considered its historical context, and then performed a passage. “When live performances for audiences were put on hold, we played for each other, providing immediate feedback and discussion,” says Woolfrey. “The past year has gone every which way for everyone,” added violist Victoria Goettel, a two-year COYO member and graduate of Brecksville-Broadview Heights High School. She was grateful that “even through video calls, we keep playing. There was never a time when the coaches and music director weren’t caring about our well-being. People who make music need to be taken care of too.” In the spring, Youth Orchestra members attended online seminars related to injury prevention, preparation for college auditions, and career options in discussions with alumni who are professional performers or in related roles. As summer approached, the opportunity to gather in person presented itself. For the past 20 years, COYO had not performed at Blossom Music Center, the summer home of The Cleveland Orchestra. But the ability to gather safely outdoors made it a perfect venue for a reunion. On Saturday, June 5, the musicians joined their Cleveland Orchestra coaches and music director — some
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A Tuneful Return
Cleveland Orchestra Youth Orchestra
for the first time — for a day filled with coaching sessions, as well as chamber orchestra and ensemble rehearsals. The following day, they performed for invited family and friends in a celebratory event that also honored the graduating seniors. With the availability of vaccines for ages 12 and over, COYO has been able to rehearse and perform safely indoors at Severance Music Center during the 21–22 season. In October, COYO musicians participated in an in-person visit from composer Joan Tower, who spoke about her career, finding creativity during the pandemic, and her work Sixth Fanfare for the Uncommon Woman (which opens today’s concert). Meanwhile, virtual experiences will continue to connect members to professional musicians, and a conversation with composer Reena Esmail, whose work She Will Transform You will be performed by COYO and the Cleveland Orchestra Youth Chorus in May, is scheduled. “It was a total team effort to get through the past two years,” says Parameswaran about the Youth Orchestra. “I never doubted for one second that COYO would emerge from this forced separation as a stronger and more cohesive ensemble. We are very lucky to have such a dedicated team — the students, and Cleveland Orchestra coaches and staff.”
COYO reunion at Blossom Music Center in June 2021. Photography by Roger Mastroianni
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About the Cleveland Orchestra Youth Orchestra The Cleveland Orchestra Youth Orchestra is a full symphonic ensemble composed of approximately 85 young musicians drawn from 35 communities in seven counties across Northern Ohio. Founded in 1986 by Jahja Ling (then resident conductor of The Cleveland Orchestra), the Cleveland Orchestra Youth Orchestra (COYO) provides serious young music students of middle and high school age with a unique pre-professional orchestral training experience. The 2021–22 season marks the fifth under the direction of Vinay Parameswaran. Among the acclaimed artists to work with COYO are Marin Alsop, Pierre Boulez, Stéphane Denève, Christoph von Dohnányi, Giancarlo Guerrero, Witold Lutosławski, Yo-Yo Ma, Gil Shaham, Michael Tilson Thomas, Antoni Wit, and Cleveland Orchestra Music Director Franz Welser-Möst. The ensemble has been featured on three international tours as well as nationally syndicated radio program From the Top. The Cleveland Orchestra Youth Orchestra is part of a suite of Cleveland Orchestra programs designed to nurture aspiring young musicians, which also includes the Cleveland Orchestra Youth Chorus, the Cleveland Orchestra Children’s Chorus and Preparatory Chorus, and the Crescendo and Music Mentors pathways initiatives for students in Cleveland schools. In addition, with the support of many generous individual, foundation, corporate, and governmental funding partners, the Orchestra’s full range of education and community programs reach more than 100,000 young people and adults annually, helping to foster a lifelong relationship with music by removing barriers to participation, advocating for and helping to facilitate equitable access to comprehensive music education in schools, and harnessing the life-changing power in service to the community.
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About the Youth Orchestra
Cleveland Orchestra Youth Orchestra
Sunday afternoon, November 21, 2021 at 3:00pm Jack, Joseph and Morton Mandel Concert Hall at Severance Music Center
JOAN TOWER (b. 1938)
Sixth Fanfare for the Uncommon Woman
HOWARD SWANSON (1907–1978)
Short Symphony 1. Allegro moderato 2. Andante 3. Allegro giocoso
AARON COPLAND (1900–1990)
Suite from Appalachian Spring
INTERMISSION ANTONÍN DVOŘÁK (1841–1904)
Symphony No. 7 in D minor, Opus 70 1. Allegro maestoso 2. Poco adagio 3. Scherzo: Vivace 4. Finale: Allegro
This afternoon’s program is approximately 1 hour and 45 minutes in length. This performance will be broadcast on ideastream/WCLV Classical 104.9 FM on Saturday, January 1, 2022 at 8:00 p.m.
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Program
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FIRST VIOLINS Moonhee Kim CONCERTMASTER Beachwood High School
Moshi Tang ASSISTANT CONCERTMASTER Hawken School
Neige DeAngelis Westlake High School
Andrew Hu Hudson High School
Hansen Song Chagrin Falls High School
Sherry Du Hudson High School
Christina Bencin Hathaway Brown School
Alanna Zhang Solon High School
Kate Goldberg Laurel School
Emily Boron Shaker Heights High School
Cavin Xue Western Reserve Academy
Anika Westerbeke Hawken Mastery School
Luke Rozmajzl Homeschooled
Kailani Farivar Solon High School
Zachary Rinas Strongsville High School
Sophie Ng Avon High School
Ehren Collins University School
Avaneesh Polaconda Strongsville High School
Brian Hong Solon High School
Lauren Dunlap Strongsville High School
Edward Huang Hawken School
VIOLAS Gunnar Brennecke PRINCIPAL Homeschooled
Ashley Cvetichan ASSISTANT PRINCIPAL Mentor High School
Milo Page Homeschooled
Julia Peyrebrune The Lyceum
Talia Proweller Shaker Heights High School
Ben Wong Mentor High School
Roy Morcos Hudson High School
SECOND VIOLINS Marina Ziegler
Jason Wei
PRINCIPAL Copley High School
Ethan Lee
Annie Mills ASSISTANT PRINCIPAL Chagrin Falls High School
Ella Cole Chardon High School
Aiden Scheuer Westlake High School
Carol Huang Hathaway Brown School
Hana Mazak Brecksville-Broadview Heights High School
Solon High School Mentor High School
Catherine Bachovchin Shaker Heights High School
CELLOS Avery Maytin PRINCIPAL Shaker Heights High School
Eleanor Pompa ASSISTANT PRINCIPAL Laurel School
Jacqueline Kaminski Elyria High School
Jacob Andreini
Kobby Owusu Solon High School
Abigail Bontrager Malone University
Elena Ziegler Copley High School
Ada Ortan Avon High School
Jill King Lakewood High School
Nathaniel Tyler Cleveland Heights High School
Aiden Tian Hawken School
Indya Reed Cleveland School of the Arts
Louis X. Wang Solon High School
BASSES Jonathan Jacques PRINCIPAL Shaker Heights High School
Bettie McGurr ASSISTANT PRINCIPAL Hudson High School
Sullivan Wiggins Shaker Heights Middle School
Rowan Toth-Cseplo Firestone CLC
Travis Phillips University School
Sachin Singh University School
Gisel Dominguez ** Hollie Greenwood ** HARP Lina Tian
C
Hathaway Brown School
FLUTES Amy Deng
T
Avon Lake High School
Olivia Fritz C D Homeschooled
Adriana Krauss S Oberlin High School
University School
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Youth Orchestra Members
Cleveland Orchestra Youth Orchestra
PICCOLO Amy Deng D Olivia Fritz T Adriana Krauss C OBOES Sophie Craciun
HORNS William Lowe
C
North Olmsted High School
Josslyn Rossos S Brecksville-Broadview Heights High School
D
Lakewood High School
Matthew Dawson C S Mentor High School
Robert Schrembeck T
Taylor Sobol D
PERCUSSION Tim Barron Adam Quinn John Tatara PIANO Isabel Mearini C T
Hawken School
Shaker Heights High School
Alyssa Webb T Michael Rising **
MANAGER Lauren Generette
TRUMPETS Dasara Beta D
LIBRARIAN/ASSISTANT Kennedy McKain
Olmsted Falls High School
Lake High School
CLARINETS Chloe Fuller S
Rocky River High School
Villa Angela-St. Joseph High School
Owen Ganor
Rocky River High School
Olivia Passerini C
C
Rocky River High School
Ava Haehn
Jamie Hammarlund T
Jackson High School
Alex Wu
T
Riverside High School
S
Western Reserve Academy
Megan Zhao D Hudson High School
BASSOONS Teo Kim T Luis Torres
TROMBONES Isabel Newby C S T Hudson High School
Stow-Munroe Falls High School CD
Fairview High School
Madeline Wilks ** S
VICE PRESIDENT OF EDUCATION & COMMUNITY ENGAGEMENT Joan Katz Napoli Performers are listed alphabetically within each woodwind, brass, and percussion sections. Superscripts indicate principal player according to
Rafael Noriega ** P. Vincent Tapia D **
the following key:
TIMPANI Tim Barron
S
Copland Dvorák Swanson
T
Tower
D
Solon High School
Adam Quinn
C D
** Extra/substitute musician
T
Wadsworth High School
John Tatara C S Kenston High School
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, The George Gund Foundation has made a generous gift to the Orchestra’s endowment in support of the Youth Orchestra, and the estate of Jules and Ruth Vinney has generously endowed a Touring Fund to support the Youth Orchestra’s performances beyond Northeast Ohio.
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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 Cello, Barbara P. and Alan S. Geismer Chair Principal Viola, Anthony T. and Patricia A. Lauria 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, please contact The Cleveland Orchestra’s Philanthropy & Advancement office by calling 216-456-8400 or emailing donate@clevelandorchestra.com.
Youth Orchestra Members
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Vinay Parameswaran Music Director, Cleveland Orchestra Youth Orchestra Associate Conductor, The Cleveland Orchestra Elizabeth Ring and William Gwinn Mather Chair Vinay Parameswaran joined The Cleveland Orchestra as assistant conductor with the 2017–18 season, and was promoted to associate conductor in 2021. In this role, he leads the Orchestra in several dozen concerts each season at Severance, Blossom Music Festival, and on tour. He also serves as music director of the Cleveland Orchestra Youth Orchestra. 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, along with his subscription debut with the Nashville Symphony conducting works by Gabriella Smith, Grieg, and Prokofiev. Other recent engagements have included debuts with the National Symphony Orchestra, Milwaukee Symphony, Jacksonville Symphony, Eugene Symphony, and the Vermont Symphony Orchestra. In addition to his concert work, Mr. Parameswaran has led performances of 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. At Brown, he began his conducting studies with Paul Phillips. He received a diploma from the Curtis Institute of Music, where he studied with Otto-Werner Mueller as the Albert M. Greenfield Fellow.
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Cleveland Orchestra Youth Orchestra
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Sixth Fanfare for the Uncommon Woman Composed: 2014 In 1986, pioneering composer Joan Tower wrote a short work for “women who take risks and who are adventurous.” Titled Fanfare for the Uncommon Woman, Tower’s piece for brass with percussion simultaneously paid homage to Aaron Copland’s Fanfare for the Common Man while also honoring trailblazing female musicians. It was dedicated to conductor Marin Alsop.
BY Joan Tower BORN September 6, 1938 New Rochelle, NY
Several Fanfares for Uncommon Women followed: the second was premiered by the Orchestra of St. Luke’s at Lincoln Center; the third, at Carnegie Hall, on the occasion of its 100th anniversary, by the New York Philharmonic brass section; the fourth, commissioned by the Kansas City Symphony for full orchestra; and the fifth, a trumpet quartet for the Aspen Music Festival. Resonating with audiences, these works have become a calling card for Tower. The Sixth Fanfare for the Uncommon Woman began as a work for piano dedicated to composer Tania León. Tower later arranged it for orchestra, and it premiered in 2014 with Alsop conducting, 28 years after Tower had dedicated the first of the series to her. Unlike most fanfares, which are traditionally written for brass, this one, composed for full orchestra, starts with a driving ostinato in the strings. This continuous beat is picked up by other sections while jazzy riffs in the brass and fluttering motifs from the woodwinds play with rhythm. These delicate textures build to a tense and stormy crescendo — an exclamation point on a powerful statement. Performance Time: about 5 minutes
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Program Notes
Cleveland Orchestra Youth Orchestra
Short Symphony Composed: 1948 Born in Atlanta, Howard Swanson moved to Cleveland when he was 9 years old. It’s here that he received his early music education, first as a young piano student and later at the Cleveland Institute of Music.
BY Howard Swanson BORN 1907 Atlanta, GA DIED November 12, 1978 New York City
In 1938, he received a Rosenwald Fellowship — a member of the selection committee told Swanson, “Somebody has to write American music, it might as well be you.” As a result, he traveled to Paris and took lessons with the noted French teacher Nadia Boulanger. But World War II intervened, Germany invaded France, and Swanson fled first to Spain and eventually New York City. Back in the United States, he began working for the Internal Revenue Service while also composing music in his Harlem apartment. After moderate success writing art songs, Swanson’s big break came in 1950, when conductor Dimitri Mitropoulos and the New York Philharmonic premiered his Short Symphony. The piece was so successful the New York Music Critics’ Circle named it the best orchestral work performed in the city between October 1950 and the end of 1951.
“The honor to Mr. Swanson,” reported Olin Downs in The New York Times, “comes with double weight, because European works were voted upon on this occasion, whereas in the past the awards have been limited to American composers.” Just over 10 minutes in length, Swanson’s Short Symphony encompasses the “depth, seriousness, and intensity” of a longer work through sophisticated yet economical means. “I experimented with atonalism,” he told the Times in 1950, “but it never quite satisfied me. Now my music has something ‘familiar’ about it. … People often think it sounds like something they have heard. Sometimes I think so myself, but it doesn’t really. It just has a familiar quality.” Those early flirtations with atonality are apparent in the first movement’s wandering melody, introduced by the flute, and then taken up by the violins. Recognizable tunes come in and out of focus — a snippet of a romantic idyll, a brass fanfare, a raucous jamboree. That familiarity comes to the fore in the lyrical second movement, which showcases Swanson’s talents for creating intimacy, even within a short, 3-minute span. A lively and charming Allegro giocoso (fast and fun) third movement brings the piece to a close with a flourish of jazzy figures and stylized harmonics. Performance Time: about 10 minutes
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Program Notes
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Suite from Appalachian Spring Composed: 1943–44 as a ballet, arranged as a suite for orchestra in 1945
BY Aaron Copland BORN November 14, 1900 Brooklyn, NY DIED December 2, 1990 North Tarrytown, NY
The ballet Appalachian Spring was commissioned in 1943 by the American patron of the arts Elizabeth Sprague Coolidge, who requested from Aaron Copland a new work for the great dancer and choreographer Martha Graham. Composer and choreographer worked out a scenario taking place in rural Pennsylvania at the beginning of the 19th century. Together they discussed the various scenes and made notes concerning the approximate length of each section. The composer completed the ballet while on a tour of Mexico and mailed the music to Graham in New York. Graham only arrived at the title shortly before the premiere, finding it in a line in the Hart Crane poem “The Bridge.” Throughout the actual compositional process, Copland only knew the work as “Ballet for Martha.” The tale concerns a pioneer wedding in a Pennsylvania farmhouse. Along the way, Copland recalls folk dance rhythms and hymns: the most obvious example is his direct quotation of the Shaker hymn “Simple Gifts,” which he sets in a number of variations. Copland’s score concludes as serenely and prayer-like as it begins, ending the day with the same chords that had evoked dawn at the start. When it premiered in Washington, D.C., on October 30, 1944, Appalachian Spring was scored for a chamber group of only 13 instruments due to the space constraints at the Library of Congress. In 1945, Copland received the Pulitzer Prize in music for Appalachian Spring. That same year, he condensed the original ballet music into a suite; in this form, Appalachian Spring started a life of its own away from the ballet stage and quickly became a universal concert favorite. Performance Time: about 25 minutes
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Program Notes
Cleveland Orchestra Youth Orchestra
Symphony No. 7 in D minor, Opus 70 Composed: 1884–85 When Dvořák embarked on his Seventh Symphony, in 1884, he had reached a point of celebrity where each new piece was performed and published at once — not just in his home city of Prague, but also in Germany and England.
BY Antonín Dvořák BORN September 8, 1841 Nelahozeves, Bohemia DIED May 1, 1904 Prague
The Sixth Symphony, completed in 1880, was performed in London in 1884 by the Philharmonic Society, which then asked Dvořák for a brand-new symphony. He responded at once by creating the Seventh. He chose the key of D minor, which automatically invited comparisons to Beethoven’s Ninth Symphony, also written in that key. But Dvořák didn’t look to Beethoven, but rather Brahms’s Third Symphony in F, which he had heard the composer play in part on a piano in October 1883, and at a performance in Berlin in January 1884. In February 1885, Dvořák worried about the piece in a letter to his publisher, writing: “I have been engaged on the new symphony for a long, long time; after all it must be something really worthwhile, for I don’t want Brahms to say to me ‘I imagine your symphony to be quite different from your last one’ and be proved wrong.”
The London premiere in 1885 was an enormous success — though many in the press considered the new symphony inferior to the Sixth — and it led to more commissions. These days many deem the Seventh Dvořák’s best effort, an estimation Dvořák himself may have agreed with. The “New World” may be the most popular of Dvořák’s symphonies, but the Seventh has an unequaled power: rich in melody and bold in harmony. The first movement’s opening theme, whispered by violas and cellos, is decidedly melancholy, with its emphasis on the flatness of the minor key. But later themes are much cheerier, like a beautiful entry for solo horn near the beginning, and the main second subject presented by flute and clarinet reminiscent of Brahms’s Second Piano Concerto. The movement eventually reaches a tremendous climax, but the ending is subdued and desolate. A hymn-like melody for winds opens the slow second movement, a declaration of innocence that is quickly elaborated into something more searching, even sinister, as low trombones support some mysterious chords. This is a clear nod towards a similar passage in Brahms’s Third.
2021–2022 Season
Program Notes
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The intensity of the first two movements dissipates in the Scherzo third movement, alive with an irresistible Czech lilt. The movement’s Trio section offers a change of key and a soft, delicate texture throughout. Eventually the dance returns, and its final notes seem to proclaim the entrance of the finale fourth movement. Dvořák’s finale is long and complex, and although its ending chords are in major, the minor key dominates much of the action, leaving the listener emotionally wrung as if some mighty force has passed through. The great British critic Donald Tovey had no hesitation in setting this symphony “among the greatest and purest examples in this art-form since Beethoven.” Performance Time: about 40 minutes
UPCOMING PERFORMANCES BY THE CLEVELAND ORCHESTRA YOUTH ORCHESTRA AND CLEVELAND ORCHESTRA YOUTH CHORUS Sunday evening, February 20, 2022, at 7:00 p.m. Sunday evening, May 8, 2022, at 7:00 p.m.
The Cleveland Orchestra is grateful to these 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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Program Notes
Cleveland Orchestra Youth Orchestra
Youth Orchestra Coaching Staff The following members of The Cleveland Orchestra have served as section coaches for the Cleveland Orchestra Youth Orchestra in preparation for this concert:
VIOLINS Peter Otto First Associate Concertmaster
Kathleen Collins Chul-In Park
BRASSES Hans Clebsch Horn
Lyle Steelman Assistant Principal Trumpet
Shachar Israel VIOLAS Stanley Konopka Assistant Principal
CELLOS David Alan Harrell BASSES Mark Atherton WOODWINDS Jessica Sindell
Assistant Principal Trombone
PERCUSSION Thomas Sherwood KEYBOARD Joela Jones Principal Keyboard Emeritus
EMERITUS COACH Phillip Austin Bassoon Emeritus
Assistant Principal Flute
Saeran St. Christopher Flute
Frank Rosenwein Principal Oboe
Corbin Stair
WITH SPECIAL THANKS Michael Ferraguto Librarian
Robert O’Brien Librarian
Oboe
Robert Woolfrey Clarinet
Afendi Yusef Principal Clarinet
Jonathan Sherwin Bassoon
2021–2022 Season
Youth Orchestra Coaching Staff
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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:
Jesse Martin Avon High School
Joshua Brunger Avon Lake High School
Lisa Goldman Beachwood High School
Steven Cocohiola Brecksville-Broadview Heights High School
Vincent Ciulla Breckville-Broadview Heights High School
Kendra Karriker Chagrin Falls High School
Daniel Heim Cleveland Heights High School
Dianna Richardson Cleveland School of the Arts
Basil Kochan Copley High School
Gregory Smith Elyria High School
Peter Cibulskas Fairview High School
Kacy Albright Firestone CLC
Linda Simon-Mietus Hathaway Brown School
Laura Webster Hathaway Brown School
2021–2022 Season
Kyra Mihalski Hawken School
Jodie Ricci Hawken School
Roberto Iriarte Hudson High School
Beverly O’Connor Hudson High School
Michele Monigold Jackson High School
Jeff Link Kenston High School
Jared Cooey Lake High School
Elizabeth Hankins Lakewood High School
Clinton Steinbrunner Lakewood High School
Steve Poremba Mentor High School
Matthew Yoke Mentor High School
Erik Kalish North Olmsted High School
Len Gnizak Oberlin High School
Julie Budd Olmsted Falls High School
Brad Allen Riverside High School
School Music Teachers
Michael Komperda Rocky River High School
Bill Hughes Shaker Heights High School
Donna Jelen Shaker Heights High School
Nicole Clouser Shaker Heights Middle School
Gerald MacDougall Solon High School
Mark Mauldin Solon High School
Greg Newman Stow-Munroe Falls High School
Andrew Hire Strongsville High School
Mark Langley The Lyceum
Daniel Singer University School
Erin Stevens University School
Dana Hire Wadsworth High School
Margaret Karam Western Reserve Academy
Edward Leonard Western Reserve Academy
Hilary Patriok Westlake High School
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Private Music Teachers The members of the Cleveland Orchestra Youth Orchestra express gratitude to their private teachers for their patience, insight, and expertise:
VIOLIN TEACHERS Masha Andreini Sibbi Bernhardsson David Bowlin Jeanelle Brierley Wei-Shu Co Wei-Fang Gu * Liesl Hook-Langmack Joan Kwuon Jung-Min Amy Lee* Abigail McLaughlin Ioana Missits * Sonja Braaten Molloy* Yoko Moore Elona Pappas Eugenia Poustyreva Amber Rogers Carol Ruzicka Stephen Sims Jessica Stearns Byrd Yu Yuan* VIOLA TEACHERS Marcia Ferrito Laura Keunen-Poper Nancy McConnell James Rhodes Laura Shuster Lembi Veskimets* Ann Yu
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CELLO TEACHERS Martha Baldwin* Paul Bergeron David Alan Harrell* Elizabeth Howse Pamela Kelly Richard Weiss* Jerry Yarovich Elizabeth Zadinsky
BASSOON TEACHERS Mark DeMio Marisa Esposito
BASS TEACHERS Stephanie Price Tracy Rowell Bryan Thomas Susan Yelanjian
TRUMPET TEACHERS Jeff Huston Michael Miller * Rich Pokrywka
FLUTE TEACHERS Kyra Kester Julie Sarver Kathy Stuart OBOE TEACHERS Sue Helfrich Mary Kausek Cynthia Warren CLARINET TEACHERS Meghan Colbert Jennifer Magistrelli Craig Wohlschlager Robert Woolfrey*
Private Music Teachers
HORN TEACHERS Rose DiGeronimo Meghan Guegold Van Parker Jason Riberdy
TROMBONE TEACHER BJ Bishop PERCUSSION TEACHERS Ben Kipp Tyler Niemeyer HARP TEACHER Jody Guinn KEYBOARD TEACHER Madeline Levitz * Member of The
Cleveland Orchestra
Cleveland Orchestra Youth Orchestra
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, cell phones, or wristwatches prior to the start of the concert. PHOTOGRAPHY, VIDEOGRAPHY, AND RECORDING Audio recording, photography, and videography are prohibited during performances at Severance. Photographs of the hall and selfies can be taken when the performance is not in progress. As a courtesy to others, please turn off any phone/ device that makes noise or emits light. NEW FREE MOBILE APP Get instant access to your tickets for Cleveland Orchestra concerts at Blossom Music Center and Severance by using the Ticket Wallet App. More information is at clevelandorchestra.com/ticketwallet
2021–2022 Season
About Your Visit
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 age-appropriate 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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To ensure your visit is safe and inspiring. . . PROOF OF VACCINATION Everyone who enters Severance for concerts and events will be required to show proof of full Covid-19 vaccination. Guests who are unable to be vaccinated or are ineligible (including children under the age of 12) will be required to provide proof of a negative Covid PCR test taken within 72 hours of entry. Proof of vaccination or negative test must be presented when entering Severance through either touchless verification using the CLEAR app (please visit clearme.com—you must register your vaccination through the app), or by showing an original vaccination card along with a valid government-issued ID. FACE MASKS REQUIRED Approved face masks are required at all times in Severance, including while seated during performances. ENHANCED CLEANING We will continue comprehensive and consistent cleaning procedures and provide hand sanitizer stations throughout. ENHANCED VENTILATION Severance has updated its HVAC filtration and circulation system to meet the guidelines of local public health authorities and recommendations from Cleveland Clinic.
The Cleveland Orchestra extends special thanks to Cleveland Clinic for its ongoing expertise and guidance throughout the past year in helping to ensure the health and safety of the musicians onstage, our staff and volunteers, and all audience members and guests.
For more details and the most up-todate health and safety information, visit clevelandorchestra.com/healthinfo
Copyright © 2021 by The Cleveland Orchestra and Musical Arts Association Amanda Angel, Managing Editor of Content (aangel@clevelandorchestra.com) Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members. The Cleveland Orchestra is proud to have its home, Severance Music Center, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.
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About Your Visit
Cleveland Orchestra Youth Orchestra
Oberlin Conservatory of Music OPE NING A WORLD OF POSSIBILITIES
At Oberlin, students are guided along diverse paths by expert faculty mentors. Here, you will experience supportive instruction that inspires compelling performances. You’ll collaborate with remarkable guest composers and performing artists. And you’ll be supported by resources that make imaginative projects possible. Oberlin’s transformative education has launched the careers of creative performers and thinkers across the musical spectrum. It’s a life-changing experience that’s only possible when an exceptional college and conservatory share a seamless campus.
$10K COMMITMENT SCHOLARSHIP $5K GUARANTEED SUMMER PROJECT SUPPORT oberlin.edu/con