Cleveland Orchestra Youth Orchestra

Cleveland Orchestra Youth Orchestra

Sunday, November 20, 2022, at 3:00 p.m.

Jack, Joseph and Morton Mandel Concert Hall at Severance Music Center

Daniel Reith , conductor

LILI BOULANGER (1893–1918)

PYOTR ILYICH TCHAIKOVSKY (1840–1893)

D’un soir triste (Of a Sad Evening)

SERGEI PROKOFIEV (1891–1953)

Violin Concerto in D major, Opus 35

I. Allegro moderato

II. Canzonetta: Andante

III. Finale: Allegro vivacissimo

MOSHI TANG, violin

INTERMISSION (20 minutes)

Excerpts from Romeo and Juliet, Opus 64

Madrigal

Minuet

Masks

Montagues and Capulets

Juliet, the Young Girl

Friar Laurence

Dance

Romeo and Juliet Before Parting

Dance of the Maids from the Antilles

Romeo at the Fountain

Morning Dance

Nurse

Death of Juliet

This performance is about 1 hour and 40 minutes in length. This performance will be broadcast on ideastream/WCLV Classical 90.3 FM on Sunday, January 8, 2023, at 4:00 p.m. It will re-air on Sunday, March 26, 2023, at 4:00 p.m. and Sunday, September 10, 2023, at 4:00 p.m.

Introducing COYO Music Director Daniel Reith

As he begins his tenure in Cleveland, Daniel Reith looks to share the electrifying power of music he experienced while growing up in Germany.

Daniel Reith was raised in a small town in Southwest Germany, surrounded by apple trees, vineyards, and the foothills of the Black Forest mountains. He grew up in a non-musical family, however, his lack of exposure to the vast history of music only made the process of falling in love with it that much more exciting — discovering endless portals to alien realms, each filled with life-affirming experiences.

Daniel was three years old the first time music captured his interest, when his 10-year-old brother Manuel started piano lessons. Manuel only practiced for five minutes before each of his lessons at a standing keyboard and quickly abandoned the instrument. But Daniel picked up the melodies and began teaching himself. By age eight, Daniel asked his parents if he could take piano lessons at a local music school, and those lessons eventually led to his participation in youth piano competitions, first in Germany and later across Europe.

He later began attending concerts. When he was 15, he attended the Mariinsky Theatre Orchestra’s performance of Shostakovich’s Tenth Symphony. Reith had gone with an interest in hearing Beethoven’s Fifth Piano Concerto, but the riveting Shostakovich ignited his dream of becoming a conductor.

“During this piece, I felt pressed into my chair,” Reith recalls. “I couldn’t breathe anymore. All my muscles stuck together, especially in the second movement … It was just incredible to feel the deepest depression of the first movement towards this grotesque, sarcastic ‘killing’ atmosphere of the second movement towards the triumphant end.”

Having been so moved by the symphony was an epiphany for Reith, and he saw conducting as a means to pursue more of these experiences. “I was just thinking, ‘What is this music doing to me?’ I couldn’t sleep for two nights after hearing that. … I was fascinated by how it could show me emotions that I have never felt before. … That was a moment for me where I thought I want to explore this music and discover all the different corners of it.”

Reith hopes to provide COYO students with similarly electrifying experiences. During his own time in youth orchestras, he remembers being influenced by the conductors’ curiosity. “For me, the most inspiring conductors were the ones who shared their burning fascination for the repertoire with the orchestra. … This is exactly what I want it to be like for COYO. We will have a broad repertoire with very different styles in our season program, and use curiosity as the driving motor of all our work.”

He also hopes young musicians unlock the exciting and fulfilling treasures left behind by composers through music theory. “Music theory, for me, was always a very fun activity because I felt very enriched by feeling that I cracked the code of the piece. I was trying out different keys to the piece, and finally, I figured out how it was constructed, and I got an insight into the brain of the composer.”

But above all, Reith just hopes to create enriching experiences for young musicians that will last a lifetime, no matter what career path they pursue. “I think the awareness of being an individual within a larger group is an important lesson for one’s whole life. It would be impossible to distinguish between music-making and learning for life in general. Everything is music, and everything is life.”

— Lizzie Manno

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Coached by the World’s Best

The opportunity to learn from such talented and experienced musicians as those of The Cleveland Orchestra is priceless, and gives us insight into our music that we would never have otherwise. —COYO Student

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Cleveland Orchestra Youth Orchestra

D’un soir triste (Of a Sad Evening)

Composed: 1918

BY Lili Boulanger

BORN

August 21, 1893

Paris, France

DIED

March 15, 1918

Mézy-sur-Seine, France

Lili Boulanger was surrounded by musical excellence from the moment she was born. Her father, Ernest, was a composer who won the Prix de Rome, the highest honor for aspiring French composers, and her mother, Raïssa, was a professional singer. Her grandfather, Frédéric, was a noted cellist, and her grandmother, Marie-Julie, a successful mezzo-soprano. Not to mention that her sister, Nadia, six years her senior, became one of the most celebrated teachers of musical composition.

However, Lili Boulanger did not live an easy life. She contracted a severe case of bronchial pneumonia and continued to suffer from ailments, leading to her death at age 24. Health issues aside, she was able to pursue composition studies and even studied with Paul Vidal, a respected conductor who taught at the Paris Conservatory. At the age of 19, she won the Prix de Rome, becoming the first woman composer to win the prize — an accolade that even Nadia failed to achieve after four attempts.

By the time she composed D’un soir triste in 1918, her health had significantly deteriorated. This piece and its companion, D’un matin de printemps (On a Spring Morning), were completed only with the help of Nadia. Despite the physical pains Lili faced, D’un soir triste captures an advanced ability to harness complex emotions. Filled with dusky hues, which paint a melancholy and foreboding picture, the work can even be described as dirge-like, with its decidedly solemn palette. But there are also moments of high drama in the strings and horns, as well as a sense of mystery and elusiveness. Knowing of Boulanger’s imminent death, one could interpret this work as an attempt to grapple with her own suffering, though the piece stands on its own as a dynamic and thoughtful portrait of longing, fear, and sadness.

Duration: 12 minutes

Violin Concerto in D major, Opus 35

Composed: 1878

BY Pyotr Ilyich Tchaikovsky

BORN

There is no shortage of great masterpieces that met with negative criticism at their premiere, but few have fared worse than Tchaikovsky’s Violin Concerto. This may sound surprising, since this work — now one of the most popular of all concertos — has none of the revolutionary spirit of Stravinsky’s The Rite of Spring, Wagner’s Ring of the Nibelung operas, or Beethoven’s heroic Third Symphony, to name just three works that generated heated controversies around the time they debuted. Yet, at its premiere, the Tchaikovsky concerto clashed with the expectations of people who had strong opinions about what a violin concerto ought to be like.

May 7, 1840 near Votkinsk, Russia

DIED

November 6, 1893

St. Petersburg, Russia

The great violinist and teacher Leopold Auer, for whom Tchaikovsky had written the concerto, rejected it. And the Viennese critic Eduard Hanslick, a friend of Brahms and a fierce opponent of Wagner, uttered the immortal phrase that the concerto “stank to the ear,” after the 1881 premiere. The harshness and vulgarity of these opinions could not help but exacerbate Tchaikovsky’s depressive tendencies, which were rarely far from the surface. The composer never forgot Hanslick’s caustic remarks.

Why this unusually strong resistance to a work that did not challenge the existing world order but “simply” wanted to be what it was: a brilliant and beautiful violin concerto? In Hanslick’s case, the answer may lie in the critic’s inability to accept symphonic music that was not Germanic in spirit. The first great violin concerto to come from Russia, Tchaikovsky’s work certainly struck a chord that was disconcertingly foreign in Vienna. (It is ironic that Hanslick thought of Tchaikovsky as a Russian barbarian, while in Russia, the composer was considered a “Westernizer” whose music was not as truly Russian as that of the group of composers known as the “Mighty Five.”)

As for Auer, the novel technical demands of the piece may have seemed out of place to him. He was quoted later as feeling that certain passages were “not in keeping with the demeanor of the violin,” as he knew the instrument. To his credit, he took a second look and changed

his mind soon enough. Once it was introduced by others, he became a great advocate of the concerto — although, he modified certain passages to conform to his view of how they should have been written. Auer, one of the great violin teachers of his era, taught the work to many of his own star students, including Mischa Elman, Jascha Heifetz, and Efrem Zimbalist.

Tchaikovsky wrote his Violin Concerto in the spring of 1878. In order to recover from the recent trauma of his ill-fated and short-lived marriage to Antonina Milyukova, the composer retreated to the Swiss village of Clarens, on the shores of Lake Geneva, accompanied by his brother Modest and a 22-year-old violinist named Yosif Kotek, who assisted him in matters of violin technique.

The composition progressed so effortlessly that the whole concerto was written in only three weeks, with an extra week taken up by the orchestration. During this time, Tchaikovsky wrote not only the three concerto movements that we know, but a fourth one as well. The initial second movement, “Méditation,” was rejected at an early run through and replaced with the present “Canzonetta,” written in a single day. Due to Auer’s initial unfavorable reaction, no violinist accepted the work for performance for three years, until the young Adolf Brodsky, a Russian-born virtuoso living in Vienna, chose it for his debut with the Vienna Philharmonic.

One of the things that makes this concerto so great is the ease with which Tchaikovsky moves from one mood to the next. Lyrical and dramatic, robustly folk-like, and tenderly sentimental moments follow one another without the slightest incongruity, just as a variety of elements had in his First Piano Concerto, written three years earlier. Another remarkable feature is the combination of virtuosity with emotional depth. Although the technical difficulties of the solo part are tremendous, every note also expresses something that goes far beyond virtuosic fireworks. All in all, it is one of the greatest violin concertos ever written, and no critic after Hanslick has ever challenged its status again or smelled anything unpleasant in the work!

Duration: 35 minutes

Excerpts from Romeo and Juliet, Opus 64

Composed: 1935

Though Sergei Prokofiev’s Romeo and Juliet became one of the most beloved dance works in the repertory and spawned a series of famous orchestral suites, it was practically doomed from the start — much like the eponymous starcrossed lovers in this Shakespeare classic.

BY Sergei Prokofiev

BORN

April 23, 1891

Sontsivka, Ukraine

DIED

Prokofiev received a commission for a new ballet from the Kirov Theatre (now the Mariinsky) upon his return to the Soviet Union, following a 15-year, self-imposed exile. But the Kirov company backed out, likely due to the difficult subject choice of Romeo and Juliet — Tchaikovsky had already written a symphonic poem based on this play — and the political upheaval that led to the ousting of the Kirov’s director Sergei Radlov.

March 5, 1953

Moscow, Russia

Prokofiev signed a contract to stage the work with the Bolshoi Ballet instead, but the directors found the music impossible to dance to and the happy ending confusing. As a result, they rejected the ballet and broke the contract. With no fully staged performance in sight, Prokofiev extracted two orchestral suites — each with seven movements — from the 52 numbers in the complete ballet score, correctly predicting that the suites would create a demand to hear the work in its entirety.

The ballet was eventually staged for the first time in Brno, Czechoslovakia, in December 1938, and Prokofiev had the pleasure of seeing the Kirov and Bolshoi vie for the first Soviet production — it fell to the Kirov in January 1940. Prokofiev later composed a third suite, with six movements, in 1946.

For this concert, COYO music director Daniel Reith drew a series of movements from all three suites. From the first suite we hear Madrigal, an elegant, downtempo work titled for the music that fills the Capulets’ ball. Delicate strings radiating with innocence accompany Romeo’s first glimpse of a lovely maiden and soon-to-be-lover. Romeo, Mercutio, and Benvolio — all Capulets — arrive at the ball uninvited, so they arrive wearing Masks . You can hear a sense of jolly trickery in the bouncing

woodwinds as well as the mocking cornet and timpani, as the three sneak into the revelry.

The opening scene of the second suite, Montagues and Capulets sets the scene on a street in Verona, where the feuding families are engaged in a brawl. The brawny violin melody displays the bravado of the knights, while the ladies are depicted with passages of dainty strings and woodwinds. Next, we’re formally introduced to Juliet, the Young Girl, a playful figure who is engaged in banter with her Nurse, captured with the excited, rip-roaring tempos of the strings. We also hear a clarinet solo, which reveals Juliet’s softer side and serves as one of her main motifs.

We are next introduced to Friar Laurence and a Dance, but as we know, this couple’s fortunes are short-lived, and we soon hear hints of their imminent tragedy. Romeo and Juliet Before Parting swells with flowy passion, built on the theme of Romeo’s love. With stately horns and cascading strings, it communicates the rapture and glow following the first exchange of reciprocated romantic feelings. Though the quiet, more measured woodwinds of the outro suggests that there is reason to pump the brakes.

We then travel backward in time to the opening of the third suite, where we meet Romeo at the Fountain , before he sets eyes on his beloved Juliet. This is followed by a lively Morning Dance and the jaunty theme of the Nurse. Yet, we are quickly transported to the final tragic tomb scene, where Juliet lies, and Romeo kills himself under the false impression of her death. When Juliet awakes, she, too, cannot bear the grief of her lover’s death and stabs herself with Romeo’s dagger. Prokofiev paints Death of Juliet with dignified sadness, calling back to her winsome theme with solo violin and again with the full strings. Prokofiev’s choice of unhurried poignancy shows masterful use of restraint and tenderness, as the music fades to a plain, tragic, C-major chord.

Duration: 31 minutes

FIRST VIOLINS

Marina Ziegler

CONCERTMASTER

Copley High School

Sherry Du

ASSISTANT CONCERTMASTER

Hudson High School

Carol Huang

Hathaway Brown

Sophie Ng

Avon High School

Hana Mazak

Brecksville-Broadview Heights High School

Emily Boron

Shaker Heights High School

Chengyu Jiang Solon High School

Avaneesh Polaconda

Strongsville High School

Anika Westerbeke

Hawken Mastery School

Cyprus Foster Homeschooled

Holly Bennett Cleveland School of the Arts

Sophia Muller Cleveland Heights High School

Jacob Andreini University School

Nicolo Moulthrop

Shaker Heights High School

Moshi Tang

Hawken School

Anthony Yang

Andrews Osborne Academy

SECOND VIOLINS

Christina Bencin

PRINCIPAL

Hathaway Brown

Aidan Scheuer

ASSISTANT PRINCIPAL

Westlake High School

Cavin Xue

Western Reserve Academy

Ehren Collins University School

Yikun Zhao Hawken School

Alice Han

Beachwood Middle School

Andrew Heinzen Roxboro Middle School

Hannah Lee

Hudson High School

Harris Y. Wang Solon Middle School

Brian Hong Solon High School

Audrey Greer

Strongsville High School

Kailani Farivar

Solon High School

Elizabeth Huang

Shaker Heights High School

VIOLAS

Alexandra Yeoh PRINCIPAL

Homeschooled

Ben Wong

ASSISTANT PRINCIPAL Mentor High School

Julia Peyrebrune

The Lyceum

Lindsey Jones Oberlin Senior High School

Jason Wei

Solon High School

Milo Page Homeschooled

Roy Morcos

Hudson High School

Ashley Cvetichan **

CELLOS

Eleanor Pompa PRINCIPAL

Laurel School

Ada Ortan

ASSISTANT PRINCIPAL

Avon High School

Kobby Owusu

Solon High School

Stine Adkins

Westlake High School

Chengyu Li

Beachwood High School

Aiden Tian

Hawken Upper School

Elena Ziegler

Copley High School

Claire Hua

Western Reserve Academy

Jill King

Lakewood High School

Alexandra Chen

Oberlin Senior High School

Louis X. Wang

Solon High School

Kaiden Honaker

Twinsburg High School

BASSES

Jonathan Jacques

PRINCIPAL

Shaker Heights High School

Travis Phillips

ASSISTANT PRINCIPAL University School

Bettie McGurr

Hudson High School

Sullivan Wiggins Shaker Heights High School

Rowan Toth-Cseplo

Harvey S. Firestone CLC

Bobby Johnston

Brecksville-Broadview Heights High School

Sachin Singh University School

FLUTES

Amy Deng

Avon Lake High School

Olivia Fritz P

Homeschooled

Grace Gregg

Brunswick High School

Elena Ko T

Avon High School

Adriana Krauss B

Homeschooled

PICCOLO

Adriana Krauss P

OBOES

Sophie Craciun P

Lakewood High School

Matthew Dawson B

Mentor High School

Andrew Kelly T

Bay Village Middle School

ENGLISH HORN

Isabel Martin B, P

Walsh Jesuit

CLARINETS

Elizabeth Corn

Ontario High School

Chloe Fuller

Villa Angela-Saint Joseph School

Owen Ganor T

Rocky River High School

Ava Haehn P

Riverside High School

Shannon Joyce B

Saint Joseph Academy

BASS CLARINET

Owen Ganor B

Shannon Joyce P

ALTO SAXOPHONE

Celia Head P

Olmsted Falls High School

BASSOONS

Emma Foster B, P

Copley High School

Megan Janke T

Green Local Schools

CONTRABASSOON

Brittney Delpey B, P **

HORNS

Jack Berendt P

Aurora High School

Maxwell Foster T

Hudson High School

Josslyn Rossos

Brecksville-Broadview Heights High School

Alyssa Webb B

Olmsted Falls High School

TRUMPETS

Frank Berendt P

Aurora High School

Sam Haskell T

Brunswick High School

Kahlen Sykora

Jackson Local Schools

Alex Wu B

Western Reserve Academy

TROMBONES

Grace Berendt B

Aurora High School

Elden Schrembeck P

Lake High School

Thomas Toth

Mentor High School

TUBA

Casey Mobley B, P

Wadsworth High School

TIMPANI

Aaron Miller P

Lake Middle/High School

David Schrembeck B, T

Lake Local Schools

PERCUSSION

Aaron Miller

David Schrembeck

Kaden Smutz**

HARP

Lina Tian B, P Hathaway Brown

PIANO

Isabel Mearini B, P Shaker Heights High School

MANAGER

Kennedy McKain

LIBRARIAN

Malia Rivera

DIRECTOR OF INSTRUMENTAL PATHWAYS

Lauren Generette

Performers are listed alphabetically within each woodwind, brass, and percussion sections. Superscripts indicate principal player according to the following key:

B Boulanger

T Tchaikovsky

P Prokofiev

** Extra/substitute musician

The future of classical music shines brightly through the talented young musicians of the Cleveland Orchestra Youth Orchestra. Thank you to The George Gund Foundation for their generous gift to the Orchestra’s endowment in support of the Youth Orchestra, and the estate of Jules and Ruth Vinney for generously endowing a Touring Fund to support the Youth Orchestra’s performances beyond Northeast Ohio.

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

Daniel Reith

Music Director, Cleveland Orchestra Youth Orchestra

Assistant Conductor, The Cleveland Orchestra

Sidney and Doris Dworkin Chair

Daniel Reith was appointed assistant conductor of The Cleveland Orchestra and music director of the Cleveland Orchestra Youth Orchestra (COYO) starting in the 2022–23 season. As COYO’s music director, Mr. Reith oversees the ensemble’s artistic planning, selects personnel for the ensemble, and leads rehearsals and performances of the Youth Orchestra. He’s also actively involved with the Orchestra’s education programs and community performances, and provides assistance for the Orchestra’s Classical and Blossom Music Festival seasons.

Mr. Reith was the 2019 winner of Opptakt, Talent Norway’s program for fostering young conductors, and has since performed with the Bergen Philharmonic Orchestra, Norwegian Radio Orchestra, Stavanger Symphony Orchestra, Trondheim Symphony Orchestra, and the Norwegian Armed Forces. In 2022, Mr. Reith made his debuts with the Kristiansand Symphony Orchestra and Oslo Philharmonic Orchestra. He also served as assistant conductor for the Norwegian Opera production of Orpheus in the Underworld.

In addition to his conducting work, Mr. Reith is a talented pianist and chamber musician, having performed in concerts and competitions throughout Germany, Norway, and other countries. Mr. Reith has been awarded several scholarships in Germany, where he’s worked with orchestras such as the Hamburg Philharmonic and Neubrandenburg Philharmonic.

Mr. Reith grew up in Bühl, Germany, and studied music in his home country as well as Norway. He received bachelor’s degrees in piano from Freiburg’s Academy of Music and the Norwegian Academy of Music. He also received a bachelor’s degree in music theory at Freiburg’s Academy of Music, followed by a bachelor’s degree in conducting at Frankfurt University of Music and Performing Arts. In 2021, he received his master’s degree in conducting at the Norwegian Academy of Music.

Moshi Tang

Violin

Moshi Tang, 17, fell in love with music before he could speak. He started his first violin lessons at age three-and-a-half. He joined COYO when he was 12 and has been serving as co-concertmaster since age 14. Currently, he studies violin with Joan Kwuon (Colburn School, previously Cleveland Institute of Music) and Carolyn Warner (The Cleveland Orchestra, CIM). He also studies music theory and composition with Alissa Shuster (CIM), from whom he took piano lessons. Previously, he studied with Elizabeth Faidley (Manhattan School of Music) and Liesl Langmack (CIM).

Moshi is an avid chamber music player and has played violin, viola, and piano in chamber ensembles for more than eight years. He and Carolyn Warner give several recitals as a sonata duo each year at Judson Manor and other local venues. Moshi was a semifinalist in the International Johansen Competition in 2022 and a winner of the 2022 National YoungArts Competition. He was also the 2021–2022 state winner of the Music Teachers National Association Competition in the categories of both Senior String Performance and Composition. Moshi has won local competitions, including the Concerto Competitions of the Cleveland Philharmonic Orchestra, the Suburban Symphony Orchestra, the Lakeland Civic Orchestra, and the CIM preparatory program, performing concertos with them as a result.

This past summer, Moshi joined the National Youth Orchestra of the United States, organized by Carnegie Hall, and served as its assistant concertmaster on a tour in Europe with conductor Daniel Harding and soloist Alisa Weilerstein.

Moshi is a senior at Hawken School. He is a recipient of the James A. Hawken scholarship and 2023 National Merit Scholarship Semifinalist. He plays on the school’s varsity soccer team and enjoys studying languages, philosophy, and science. He plans to continue his musical studies while pursuing a broad academic education when he goes to university next year.

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About the Cleveland Orchestra Youth Orchestra

The Cleveland Orchestra Youth Orchestra is a full symphonic ensemble composed of 89 young musicians drawn from 41 communities in 12 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 2022–23 season marks COYO’s 37th season and the first under the direction of Daniel Reith.

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.

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 lifechanging power in service to the community.

UPCOMING PERFORMANCES BY THE CLEVELAND ORCHESTRA YOUTH ORCHESTRA AND CLEVELAND ORCHESTRA YOUTH CHORUS

WINTER CONCERT

Friday evening, February 24, 2023 at 8:00 p.m.

SPRING CONCERT

Friday evening, May 5, 2023 at 8:00 p.m.

For more information, visit clevelandorchestra.com/coyo.

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csuohio.edu/music

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

Stephen Tavani

Assistant Concertmaster

Kathleen Collins

Yoko Moore

Emeritus Violin

VIOLA

Stanley Konopka

Assistant Principal

Lisa Boyko

Patrick Connolly

Emeritus Viola

CELLOS

Mark Kosower

Principal

David Alan Harrell

BASSES

Mark Atherton

Martin Flowerman

Emeritus Bass

WOODWINDS

Jessica Sindell

Assistant Principal Flute

John Rautenberg

Emeritus Flute

Frank Rosenwein

Principal Oboe

Robert Woolfrey

Clarinet

Phil Austin

Emeritus Bassoon

Gareth Thomas Bassoon

BRASSES

Hans Clebsch

Horn

Alan DeMattia

Emeritus Horn

Lyle Steelman

Assistant Principal Trumpet

Shachar Israel

Assistant Principal Trombone

James DeSano

Emeritus Trombone

TUBA

Yasuhito Sugiyama

PERCUSSION

Thomas Sherwood

HARP

Trina Struble

Principal Harp

EMERITUS COACH

Joela Jones

Emeritus Keyboard

WITH SPECIAL THANKS

Michael Ferraguto

Librarian

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:

Mason Smith Aurora High School

Jesse Martin

Avon High School

Joshua Brunger Avon Lake High School

Mark Awad

Bay Village Middle School

David Luddington Beachwood High School

Lisa Goldman

Beachwood Middle School

Steven Cocchiola

Brecksville-Broadview Heights High School

Ethan Eraybar

Brunswick High School

Daniel Heim

Cleveland Heights High School

Diana Richardson

Cleveland School of the Arts

Michael Foster

Copley High School

Basil Kochan

Copley High School

Sloan Stakleff Firestone CLC

Amy Rach

Green Local Schools

Linda Simon-Mietus

Hathaway Brown School

James Hogan

Hathaway Brown School

Jelani Watkins

Hawken School

Yu Yuan

Hawken Mastery School

Kyra Mihalski Hawken School

Sam Hartman Hudson High School

Roberto Iriarte Hudson High School

Michele Monigold

Jackson Local Schools

Jared Cooed Lake Local Schools

Demetrius Steinmetz

Lakeland Community College

Elizabeth Hankins

Lakewood High School

Clinton Steinbrunner

Lakewood High School

Joseph Kucel The Lyceum

Steven Poremba

Mentor High School

Matthew Yoke

Mentor High School

Audrey Melzer

Oberlin Senior High School

Julie Budd

Olmsted Falls High School

Elijah Henkel Ontario High School

David Schwartz

Riverside High School

Michael Komperda

Rocky River High School

Katherine Holaway

Roxboro Middle School

Brian Patton

Saint Joseph Academy

Bill Hughes

Shaker Heights High School

Donna Jelen

Shaker Heights High School

Gerald MacDougall

Solon Middle & High School

Andrew Hire

Strongsville High School

Damon Conn Twinsburg City School District

Devon Steve University School

David Kay University School

Darlene Khoury

Villa Angela St. Joseph

Dana Hire

Wadsworth High School

Nicholas Ratay

Walsh Jesuit

Margaret Karam

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

David Bowlin

Wei-Shu Co

Catherine Cosbey

Heather Crawford

Kim Gomez*

Wei-Fang Gu*

Liesl Hook-Langmack

Olga Kaler

Joan Kwuon

Yung-Ting Lee*

Sonja Braaten Molloy*

Yoko Moore

Eugenia Poustyreva

Mary Price

Amber Rogers

Carol Ruzicka

Zhan Shu*

Laura Shuster

Stephen Sims

Jennifer Walvoord

Joy Wiener

Yu Yuan*

VIOLA TEACHERS

Jeffrey Irvine

Laura Keunen-Poper

Nancy McConnell

James Rhodes

Lembi Veskimets*

Ann Yu

Louise Zeitlin

CELLO TEACHERS

Martha Baldwin*

Ruby Brallier

Eliza Fath

David Alan Harrell*

Rebecca Konow

Paul Kushious*

Daniel Pereira

Richard Weiss*

Jerry Yarovich

Elizabeth Zadinsky

BASS TEACHERS

Patricia Johnston

Tracy Rowell

Bryan Thomas

Susan Yelanjian

FLUTE TEACHERS

Gabriel Cruz

Kyra Kester

Audrey Park

Heidi Ruby-Kushious

Debbie Woods

OBOE TEACHERS

Jack Harel

Mary Kausek

Justine Myers

Corbin Stair*

CLARINET TEACHERS

Meghan Colbert

Adrienne Lape

Alix Reinhardt

Craig Wohlschlager

Robert Woolfrey*

SAXOPHONE TEACHER

Gabriel Piqué

BASSOON TEACHERS

Mark DeMio

Judith Guegold

HORN TEACHERS

Alan DeMattia

Sam Hartman

Rose Madonia

Van Parker

TRUMPET TEACHERS

Chris Hall

Michael Miller*

Rich Pokrywka

Erik Sundet

TROMBONE TEACHERS

Adam Landry

Eric Richmond

Elisabeth Shafer

TUBA TEACHER

Christopher Blaha

PERCUSSION TEACHERS

Luke Rinderknecht

Joan Wenzel

HARP TEACHER

Jody Guinn

KEYBOARD TEACHER

Madeline Levitz

* Member of The Cleveland Orchestra

State and federal dollars through the Ohio Arts Council supported your arts experience today.

WHERE WILL THE ARTS TAKE YOU NEXT ? VISIT ARTSINOHIO.COM

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

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).

Copyright © 2022 by The Cleveland Orchestra and Musical Arts Association

Amanda Angel, Managing Editor of Content (AAngel@clevelandorchestra.com)

Lizzie Manno, Editorial Assistant (LManno@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.

Cecilia Cooper ’22

Music Performance: Strings