Cleveland Orchestra Youth Orchestra May 5 Concert

Page 18

Youth Orchestra

Spring Concert

May 5, 2023

2022/23 SEASON

DANIEL REIT H– MUS I C DIRECT OR SUPPORTED BY THE GEOFFREY AND SARAH GUND ENDOWMENT
2 BE A PART OF IT IN THE HEART OF IT. MSMNYC.EDU NEW YORK, NY admission@msmnyc.edu Manhattan School of Music

Youth Orchestra

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

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

Daniel Reith , conductor

KURT SCHWERTSIK (b. 1935)

Herr K. entdeckt Amerika, Opus 101

I. Überfahrt (The Crossing) —

II. Im Hotel (In the Hotel)

III. Unterwegs (Traveling)

IV. Das Naturtheater von Oklahoma

JEAN SIBELIUS (1865–1957)

Violin Concerto in D minor, Opus 47

I. Allegro moderato

II. Adagio di molto

III. Allegro, ma non tanto

MARINA ZIEGLER, violin

INTERMISSION

SERGEI RACHMANINOFF (1873–1943)

Symphony No. 3 in A minor, Opus 44

I. Lento — Allegro moderato

II. Adagio ma non troppo — Allegro vivace

III. Allegro

This performance is about 1 hour and 50 minutes in length. Major support for the Cleveland Orchestra Youth Orchestra provided by The Geoffrey and Sarah Gund Endowment.

Tonight’s concert will be broadcast on ideastream/WCLV Classical 90.3 FM on Sundays, June 18 and August 20, 2023, at 4:00 p.m.

3 2022–2023 Season

You make dreams come true.

From a Cleveland Orchestra Youth Orchestra (COYO) musician to an international solo artist — your support makes dreams come true.

Now is the time to support the next generation of musicians. Donor. Dream-maker. That’s you.

Play your part. Make your gift today!

clevelandorchestra.com/give

“I believe wholeheartedly that music education should be a part of every child’s curriculum.”
— Alisa Weilerstein, guest artist and former COYO musician

Herr K. entdeckt Amerika, Opus 101

Composed: 2008

If the First Viennese School includes the classical heavyweights of Haydn, Mozart, and Beethoven and the Second features Schoenberg, Webern, Berg, and the other serialists, then Austrian composer Kurt Schwertsik can be credited as a founder of the Third School to come out of the city.

BORN

A student of the iconoclastic 20th-century figure Karlheinz Stockhausen, Schwertsik was also inspired by avant-gardists John Cage and Cornelius Cardew. Schwertsik, controversially, turned toward more conventional forms; he rejected the ideas of serialism preferring to explore the path of tonal music.

June 25, 1935

Vienna

But styles and trends change, and over the past several decades, Schwertsik has established himself as one of the most respected living composers in Austria. He boasts a substantial catalogue of operas, ballets, works for large and chamber ensembles, and many song cycles (a number of which were written for his wife, Christa Schwertsik).

Written in 2008, Herr K. entdeckt Amerika (Mr. K. Discovers America) is based on Franz Kafka’s incomplete novel, Amerika. The story follows Karl Rossman, a young man of few convictions whose parents send him to America as punishment.

The first section, Überfahrt (The Crossing) follows Karl on his journey across the Atlantic and past the Statue of Liberty. A steady, rippling rhythm propels the music forward as some brassy interjections perhaps allude to Karl’s destination.

Once in the US, Karl finds work as a liftboy at an elegant Hotel, described in the second movement. The nervous humming in the strings sets an ominous tone, as Karl is subjected to a series of humiliations. The third movement, Unterwegs (Traveling) is at first menacing, but a wandering flute melody guides the protagonist out of the city and into the wide-open landscape. Coplandesque sonorities describe the expansive prairies of the Midwest that Karl crosses in order to join the Nature Theater of Oklahoma. The lively final section is named for this troupe and offers some of the spectacle and suspense, and as an invention of Kafka, a hearty serving of the absurd.

Duration: about 15 minutes

5 2022–2023 Season

Violin Concerto in D minor, Opus 47

Composed: 1903, revised 1905

BORN

December 8, 1865

Hämeenlinna, Finland DIED

“I’ve got some lovely themes for a violin concerto,” Jean Sibelius wrote to his wife, Aino, in September 1902. The Finnish composer, already a national figure, had been asked by the celebrated German violinist Willy Burmester to write a violin concerto. Despite the “lovely themes” Sibelius had in mind, the concerto wasn’t coming along as expected due to a deep sense of insecurity that resulted in the composer’s alcohol dependency. It was a year before Sibelius sent the piano score to Burmester, who responded enthusiastically: “I can only say one thing: Wonderful! Masterly! Only once before have I spoken in such terms of a composer, and that was when Tchaikovsky showed me his concerto.”

September 20, 1957

Järvenpää, Finland

Sibelius completed the concerto well before the anticipated premiere, when Burmester was unavailable. Instead a local violin teacher, Viktor Nováček, performed it. Sibelius biographer Erik Tawaststjerna wrote that at the Helsinki premiere, “a red-faced and perspiring Nováček fought a losing battle with a solo part that bristled with even greater difficulties in this first version than it does in the definitive score.”

After the Helsinki premiere, Sibelius was dissatisfied with the work and decided to revise it entirely. Once the definitive version was completed, he sent it off to his German publisher, who suggested Karl Halíř as the soloist. Sibelius acquiesced, passing Burmester over for the second time. Greatly offended, Burmester never played the work whose composition he had initiated.

Halíř, the concertmaster of the Berlin Court Opera, debuted the concerto, however, it is dedicated to an exceptionally gifted 17-yearold Hungarian named Ferenc von Vecsey, who would become the work’s first champion, performing it internationally, including its first presentations in Cleveland.

Ultimately, Sibelius wrote his concerto for neither Burmester nor anyone else but himself. Sibelius’s primary instrument was the violin,

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and as a young man, he had hoped to become a concert violinist. Tawaststjerna explained, “Naturally in his imagination Sibelius identifies himself with the soloist in the Violin Concerto and this may well explain something of its nostalgia and romantic intensity.”

and as a young man, he had hoped to become a concert violinist. Tawaststjerna explained, “Naturally in his imagination Sibelius identifies himself with the soloist in the Violin Concerto and this may well explain something of its nostalgia and romantic intensity.”

Nostalgia and romantic intensity — these are indeed key to describing the Sibelius Violin Concerto. Written in the first years of the 20th century, it looks back to the great Romantic concertos of the 19th. The opening of the first movement, with the D-minor tremolos of the muted first and second violins over which the soloist plays a wistful melody, is unabashedly old-fashioned. The only unconventional features are the repeated augmented fourth leaps (from D to G-sharp or G to C-sharp), which create harsher sonorities, and the irregular phrase structure of the theme, which makes it difficult to predict how the melody is going to evolve.

Nostalgia and romantic intensity — these are indeed key to describing the Sibelius Violin Concerto. Written in the first years of the 20th century, it looks back to the great Romantic concertos of the 19th. The opening of the first movement, with the D-minor tremolos of the muted first and second violins over which the soloist plays a wistful melody, is unabashedly old-fashioned. The only unconventional features are the repeated augmented fourth leaps (from D to G-sharp or G to C-sharp), which create harsher sonorities, and the irregular phrase structure of the theme, which makes it difficult to predict how the melody is going to evolve.

Simple and song-like at first, the violin part gradually becomes more and more agitated, erupting in a first virtuoso cadenza, which takes the place of a traditional development section. The cadenza is followed by a free recapitulation in which the first melody returns almost literally. The second theme (especially in its orchestral rendition) is substantially modified. The melody of the third section is now given to the violas while the soloist adds virtuoso passages, turning the ending of the movement into a kind of grandiose fantasy.

Simple and song-like at first, the violin part gradually becomes more and more agitated, erupting in a first virtuoso cadenza, which takes the place of a traditional development section. The cadenza is followed by a free recapitulation in which the first melody returns almost literally. The second theme (especially in its orchestral rendition) is substantially modified. The melody of the third section is now given to the violas while the soloist adds virtuoso passages, turning the ending of the movement into a kind of grandiose fantasy.

The second movement, marked Adagio di molto, is based on the combination of two themes, one played by the two clarinets at the beginning, the other by the solo violin a few measures later. The violin melody is, according to the composer’s own written instruction, “sonorous and expressive.” The clarinet theme later grows into an impassioned middle section whose dynamism carries over into the recapitulation of the violin melody. Only at the very end does the melody rediscover its initial peace and tranquility.

The second movement, marked Adagio di molto, is based on the combination of two themes, one played by the two clarinets at the beginning, the other by the solo violin a few measures later. The violin melody is, according to the composer’s own written instruction, “sonorous and expressive.” The clarinet theme later grows into an impassioned middle section whose dynamism carries over into the recapitulation of the violin melody. Only at the very end does the melody rediscover its initial peace and tranquility.

The third-movement finale was described by musicologist Donald Francis Toveys as a “polonaise for polar bears.” Tovey’s words capture the singular combination of dance rhythms and a certain elegant, heavy footedness felt at the beginning of this movement. Again, there are two themes, one in a polonaise rhythm, and one based on the alternation of 6/8 and 3/4 time. “With this,” Tovey concluded his analysis, “we can safely leave the finale to dance the listener into Finland, or whatever Fairyland Sibelius will have us attain.”

The third-movement finale was described by musicologist Donald Francis Toveys as a “polonaise for polar bears.” Tovey’s words capture the singular combination of dance rhythms and a certain elegant, heavy footedness felt at the beginning of this movement. Again, there are two themes, one in a polonaise rhythm, and one based on the alternation of 6/8 and 3/4 time. “With this,” Tovey concluded his analysis, “we can safely leave the finale to dance the listener into Finland, or whatever Fairyland Sibelius will have us attain.”

Duration: about 30 minutes

Duration: about 30 minutes

7 2022–2023 Season
7 2022–2023 Season

Symphony No. 3 in A minor, Opus 44

Composed: 1935–36

BORN

April 1, 1873

Oneg, near Novgorod, Russia DIED

March 28, 1943

Beverly Hills, California

For years after leaving Russia in 1918, Rachmaninoff wrote almost no music. Facing the need to support his family, he changed the course of his life at the age of 45, embarking on a virtuoso career. Although he had been famous as a pianist since his youth, he had rarely performed anything but his own music. He now built up a repertoire, quickly establishing his international reputation as one of the greatest pianists of his time. His busy concert schedule in Europe and the United States left little time for composing. His only major works written during the 1920s were the Fourth Piano Concerto and the Three Russian Songs for chorus and orchestra.

It was not until the 1930s that Rachmaninoff again devoted more time to composing. In the villa he bought in Switzerland, he at last had time and peace of mind to engage in large-scale creative projects. In 1934, he wrote his popular Rhapsody on a Theme of Paganini, followed by the Third Symphony, and the Symphonic Dances (which was his last finished composition).

Almost 30 years separate the Third Symphony from the Second from 1907, but Rachmaninoff stayed remarkably true to himself, though with a style that had become richer with an expanded range of colors. A symphony, to Rachmaninoff passed down from his idol Tchaikovsky, was an invariably majestic and dignified work for orchestra whose movements were fairly standardized in character and whose formal structure followed tradition. The composer’s task was to fill that structure with his best melodies.

Rachmaninoff achieved this task admirably, introducing many subtle motivic innovations within the prescribed framework. In many ways, the formal rules helped impose a Classical discipline on his unbridled Romantic imagination. For example, the first movement of the Third Symphony is written in standard sonata form, with an easily recognizable opening theme, second theme, development section, and recapitulation. The second-movement Adagio has an “Allegro vivace” middle section that combines the traditional two middle movements of

8 Cleveland Orchestra Youth Orchestra

a symphony into one. The third-movement finale is again in sonata form; although its structure is less rigorous than that of the first movement.

Like the first two Rachmaninoff symphonies, the Third opens with a motto that recurs in all movements. This motto is made up of only three different notes; despite its simplicity, however, it bears the stamp of Rachmaninoff’s personality. Scored for clarinet, muted horn, and muted cello, it immediately draws our attention to the virtuosic orchestration that characterizes the entire piece. Patrick Piggott, writing on Rachmaninoff for the BBC Music Guide series, explains this motto as a “fatalistic” reminder “that our destiny is inescapable and that however persuasive human eloquence may be, fate will have the last, inevitable word.” The motto transforms in rhythm and orchestration to adopt a more resolute, dramatic tone, yet it is most memorable at the end of both the first and the second movements in a veiled, quiet pianissimo passage and with an unmistakable tinge of resignation.

The second movement contains many exquisite moments featuring successive solos for horn (accompanied by harp), violin, flute (accompanied by harp, celesta, and four solo violas), and bass clarinet. The fast middle section is remarkable for its rhythmic poignancy and many sudden contrasts in volume and instrumentation. The transition from slow to fast and back to the first tempo are signaled by a trill played alternately by the first and second violins. The movement ends with the motto, played pianissimo by plucked strings, closing the movement with a whisper.

The themes that make up the third movement are diverse in tempo, tonality, and orchestration. The buoyant first theme, played by the full orchestra with a strong rhythmic drive, is contrasted with a more lyrical second subject, to which the forceful chords of the harp make a significant contribution. A small melodic fragment, introduced by an unaccompanied solo bassoon, turns out to be the cell out of which a whole central fugue-like section grows. Some writers have detected traces of the famous “Dies irae” (which plays an important role in several of Rachmaninoff’s works) in parts of this finale. Its dark character, at any rate, seems hardly relevant to the exuberant mood of this section. The coda, which combines the first few notes of the chant with the symphony’s motto, belongs to the most brilliant moments in the piece: the final A-major chord is approached from an unusual angle that shows that Rachmaninoff was not always as conservative he is reputed to have been. Still, Rachmaninoff’s Third Symphony is perhaps the last blossom on the tree of the Russian symphonic tradition symbolized by the name of Tchaikovsky.

Duration: about 40 minutes

9 2022–2023 Season

Youth Orchestra

FIRST VIOLINS

Moshi Tang

CONCERTMASTER

Hawken School

Lizzy Huang

ASSISTANT CONCERTMASTER

Shaker Heights High School

Emily Boron

Shaker Heights High School

Christina Bencin

Hathaway Brown

Aidan Scheuer

Westlake High School

Cavin Xue

Western Reserve Academy

Kailani Farivar

Solon High School

Andrew Heinzen

Roxboro Middle School

Brian Hong

Solon High School

Carol Huang

Hathaway Brown

Harris Wang

Solon Middle School

Alice Han

Beachwood Middle School

Audrey Greer

Strongsville High School

Yikun Zhao

Hawken School

Marina Ziegler

Copley High School

SECOND VIOLINS

Sherry Du

PRINCIPAL

Hudson High School

Avaneesh Polaconda

ASSISTANT PRINCIPAL

Strongsville High School

Anika Westerbeke

Hawken Mastery School

Chengyu Jiang

Solon High School

Sophie Ng

Avon High School

Ehren Collins University School

Hana Mazak

Brecksville-Broadview Heights High School

Jacob Andreini University School

Holly Bennett

Cleveland School of the Arts

Sophia Muller

Cleveland Heights High School

Cyprus Foster Homeschooled

Hannah Lee

Hudson High School

VIOLAS

Julia Peyrebrune R

The Lyceum

Roy Morcos Sc, Si

Hudson High School

Milo Page

Homeschooled

Nicolo Moulthrop

Shaker Heights High School

Jason Wei

Solon High School

Bennett Wong Mentor High School

Ethan Lee Mentor High School

Lindsey Jones

Oberlin Senior High School

Alexandra Yeoh Homeschooled

CELLOS

Kobby Owusu PRINCIPAL

Solon High School

Eleanor Pompa ASSISTANT PRINCIPAL Laurel School

Ada Ortan

Avon High School

Aiden Tian

Hawken Upper School

Louis X. Wang Solon High School

Alexandra Chen

Oberlin Senior High School

Elena Ziegler

Copley High School

Jill King

Lakewood High School

Chengyu Li

Beachwood High School

Claire Hua

Western Reserve Academy

Stine Adkins

Westlake High School

Kaiden Honaker

Twinsburg City School District

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

Bobby Johnston

Brecksville-Broadview Heights High School

Rowan Toth-Cseplo

Harvey S. Firestone CLC

Sachin Singh University School

FLUTES

Amy Deng

Avon Lake High School

Olivia Fritz R

Homeschooled

Grace Gregg Si

Brunswick High School

Elena Ko Sc

Avon High School

Christine Kim

Hathaway Brown

10 Cleveland Orchestra Youth Orchestra
DANIEL REIT H– MUS I C DIRECT OR SUPPORTED BY THE GEOFFREY AND SARAH GUND ENDOWMENT

PICCOLO

Olivia Fritz Sc

Elena Ko R

OBOES

Sophie Craciun R

Lakewood High School

Matthew Dawson Si

Mentor High School

Andrew Kelly Sc Bay Village Middle School

Isabel Martin

Walsh Jesuit High School

ENGLISH HORN

Isabel Martin R

CLARINETS

Elizabeth Corn

Ontario High School

Chloe Fuller

Villa Angela-St.

Joseph High School

Owen Ganor Sc, Si, R

Rocky River High School

Ava Haehn

Riverside High School

Shannon Joyce Saint Joseph Academy

BASSOONS

Emma Foster Sc, Si, R

Copley High School

Meghan Janke Green Local Schools

CONTRABASSOON

Madeline Wilks R **

Youth Orchestra

HORNS

Jack Berendt R

Aurora High School

Maxwell Foster Sc

Hudson High School

Josslyn Rossos

Brecksville-Broadview Heights High School

Alyssa Webb Si

Olmsted Falls High School

TRUMPETS

Frank Berendt Si

Aurora High School

Sam Haskell

Brunswick High School

Kahlen Sykora

Jackson Local Schools

Alex Yufei Wu Sc, R Western Reserve Academy

TROMBONES

Grace Berendt Si

Aurora High School

Elden Schrembeck Sc, R

Lake High School

Thomas Toth Mentor High School

TUBA

Casey Mobley Sc, R Wadsworth High School

TIMPANI

Aaron Miller Sc, R Lake High School

David Schrembeck Si Lake High School

Major support for the Cleveland Orchestra Youth Orchestra is provided by The Geoffrey and Sarah Gund Endowment. The Cleveland Orchestra Youth Orchestra is supported by a generous grant from the Martha Holden Jennings Foundation and by gifts from many other donors from across Northeast Ohio. Endowment support is provided by The George Gund Foundation

PERCUSSION

Abigail Bemak

Lakeland Community College

Aaron Miller

David Schrembeck

Jacob Chang **

Sebastião Sheldrick **

Kaden Smutz **

HARP

Lina Tian Sc, R

Hathaway Brown

CELESTA

Isabel Mearini R

Shaker Heights High School

MANAGER

Kennedy McKain

LIBRARIAN

Malia Rivera

DIRECTOR OF INSTRUMENTAL PATHWAYS

Lauren Generette

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

Sc Schwertsik

Si Sibelius

R Rachmaninoff

** Extra/substitute musician

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

11 2022–2023 Season
DANIEL REIT H– MUS I C DIRECT OR SUPPORTED BY THE GEOFFREY AND SARAH GUND ENDOWMENT
12 Learn from a dedicated resident faculty Discover your own path Belong to a fiercely supportive community For application information visit esm.rochester.edu/admissions

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.

13 2022–2023 Season
WHO WILL FORGE NEW PATHS? SPARTANS WILL. MSU students explore limitless possibilities and discover the world of music — all within a welcoming and motivating environment designed to give them the freedom to grow and the inspiration to help realize their unique potential. MUSIC.MSU.EDU/EXPLORE Browse MusicMSU on YouTube, Instagram, Facebook and Twitter. music.admissions@msu.edu (517)355-2140 2023 audition dates: Jan. 13–14, 27–28; Feb. 10–11, 24–25 Congratulations to the Cleveland Orchestra Youth Orchestra. New facilities, a 40% expansion: The Billman Music Pavilionoffers acoustically superior practice, recording, rehearsal and performance spaces.

Marina Ziegler

Violin

Marina Ziegler began her journey with music at age four, studying piano with her mother, Mayumi Kikuchi. A year later, she began violin at the Sato Center for Suzuki Studies at the Cleveland Institute of Music (CIM) with Stephen Sims. Marina continued her studies with Cleveland Orchestra first violin Isabel Trautwein and CIM Preparatory faculty Eugenia Poustyreva. She also studied piano with Nancy Bachus. Marina currently studies with David Bowlin at the Oberlin Conservatory of Music and Carolyn Gadiel Warner of The Cleveland Orchestra.

Marina has won prizes in the Ohio Federation of Music Clubs Competitions and awards in both piano and string divisions of the Ohio Buckeye State Competition. She also won the Suburban Symphony Orchestra Young Soloists Concerto Competition in 2020 and 2021 and appeared as a soloist in 2021. This season, she performs the Sibelius Violin Concerto with both the Suburban Symphony Orchestra and the Cleveland Orchestra Youth Orchestra (COYO).

Marina joined COYO in 2019. She participates in the CIM Preparatory Chamber Music program as a violinist, violist, and pianist. Her coaches in chamber music include Annie Fullard (Cavani String Quartet), Peter Stumpf (Jacobs School of Music), Nicholas Cords (New England Conservatory), Janet Ying (Ying Quartet), and Liz Freivogel (Jupiter String Quartet).

Last year, Marina joined Carnegie Hall’s National Youth Orchestra of the United States of America (NYO-USA). As part of the orchestra, she played at Carnegie Hall as well as major concert halls across Europe with conductor Daniel Harding and cellist Alisa Weilerstein. She also participated in Chamber Music Northwest’s inaugural Young Artist Institute in Portland, Oregon, studying with Soovin Kim and Cleveland Orchestra assistant concertmaster Jessica Lee. She previously attended Bowdoin International Music Festival, Credo Festival, Boston University Tanglewood Institute, and ENCORE Chamber Music Institute.

Marina is a senior at Copley High School. She teaches piano to beginners at her mother’s home studio. When she isn’t practicing, she enjoys going on drives, hiking with her dog, Yoshi, and making coffee.

15 2022–2023 Season

Class of 2023 Graduating Members

Jacob Andreini (violin, 2021–23) will attend Rice University with plans to major in economics Abigail

Bemak (percussion, 2022–23) plans to pursue a music degree

Christina Bencin (violin, 2018–23) will pursue computational applied mathematics and operations research at Rice University Holly Bennett (violin, 2022–23) plans to major in violin performance at University of Cincinnati College-Conservatory of Music

Emily Boron (violin, 2021–23) will attend Brown University, studying classics and biochemistry Alexandra Chen (cello, 2022–23) will pursue a double major in neuroscience and political science, as well as a minor in music at Oberlin College and Conservatory

Ehren Collins (violin, 2019–23) will pursue studies in computer science, mathematics, and violin at University of Rochester/Eastman School of Music Elizabeth

Corn (clarinet, 2022–23) will pursue clarinet performance and music technology at Capital University

Sophie Craciun (oboe, 2022–23) will attend The Ohio State University

Matthew Dawson (oboe, 2021–23) will pursue oboe performance and music education at University of Cincinnati College-Conservatory of Music Amy Deng (flute, 2021–23) will pursue a major in biology at University of Florida Maxwell

Foster (horn, 2022–23) will study vocal music education at Capital

University Olivia Fritz (flute, 2020–23) will study flute performance at Carnegie Mellon University

Chloe Fuller (clarinet, 2021–23) will pursue studies in arts management and clarinet performance at Baldwin Wallace University Owen Ganor (clarinet, 2020–23) will pursue clarinet performance and biology at Oberlin College and Conservatory

Audrey Greer (violin, 2022–23) will pursue a degree in finance at Villanova University Grace Gregg (flute, 2022–23) plans to study flute performance at The Ohio State University Brian Hong (violin, 2021–23) will study mathematics at University of California, Los Angeles

Lizzy Huang (violin, 2017–23) will attend Harvard College to study philosophy, psychology, and musicology Jonathan Jacques (bass, 2019–23) plans to pursue biology, premed, and music

Shannon Joyce (clarinet, 2022–23) plans to study music education at University of Cincinnati CollegeConservatory of Music Jill King (cello, 2020–23) will attend Case Western Reserve University

Ethan Lee (viola, 2021–23) plans to study economics Bettie McGurr (bass, 2020–23) will attend Ohio Wesleyan University to pursue English and medieval studies

Isabel Mearini (keyboard, 2021–23) plans to pursue piano performance at University of Cincinnati CollegeConservatory of Music

16 Cleveland Orchestra Youth Orchestra

Aaron Miller (percussion, 2022–23) will pursue music education and percussion performance at University of Akron Roy Morcos (viola, 2020–23) Nicolo Moulthrop (violin, 2022–23) will pursue studies in math and music Kobby Owusu (cello, 2019–23) will study molecular, cellular, and developmental biology and music at Yale University

Eleanor Pompa (cello, 2019–23) will pursue cello performance at Cleveland Institute of Music

Josslyn Rossos (horn, 2021–23) will double major in horn performance and environmental sciences at Baldwin Wallace University

Aidan Scheuer (violin, 2020–23) will study music composition at the Indiana University Jacobs School of Music

Sachin Singh (bass, 2021–23) plans to study finance and pre-med at The Ohio State University

Moshi Tang (violin, 2017–23) will attend the Harvard College/ New England Conservatory dualdegree program

Alyssa Webb (horn, 2020–23) will pursue French horn performance at University of Cincinnati College-Conservatory of Music Bennett Wong (viola, 2020–23) will study electrical engineering at University of Cincinnati

Alex Yufei Wu (trumpet, 2020–23)will pursue a double major in music and psychology at Columbia University Marina Ziegler (violin, 2019–23) will pursue violin performance at Rice University

The thousands of students who have been members of the Cleveland Orchestra Youth Orchestra represent a remarkable group of talented young people. For some, their interest in music has carried them forward into careers as educators and performers. For others, music continues as an important part of their lives and careers in business, the arts, recreation, or community service. We offer our sincere congratulations to this year’s class and wish them success on the next leg of their journey!

17 2022–2023 Season
Congratulations!

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.

18 Cleveland Orchestra Youth Orchestra

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19 2022–2023 Season
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for Young Artists

Watch piano’s rising stars take the stage for extraordinary performances highlighting the next generation of classical music!

For information on tickets and events visit pianocleveland.org

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Eva Gevorgyan , 2018 CIPC Young Artist First Prize Winner Junior Division

Youth Orchestra Coaching Staff

The following members of The Cleveland Orchestra have served as section coaches for the Youth Orchestra in preparation for this concert:

VIOLINS

Stephen Tavani

Assistant Concertmaster

Kathleen Collins

Isabel Trautwein

Elayna Duitman

VIOLA

Stanley Konopka

Assistant Principal

CELLOS

David Alan Harrell

BASSES

Mark Atherton

FLUTES

Jessica Sindell

Assistant Principal

John Rautenberg Emeritus

OBOE

Frank Rosenwein

Principal

CLARINET

Robert Woolfrey

BASSOON

Phil Austin Emeritus

HORN

Hans Clebsch

TRUMPET

Lyle Steelman

Assistant Principal

TROMBONE

Shachar Israel

Assistant Principal

TUBA

Yasuhito Sugiyama

PERCUSSION

Thomas Sherwood

HARP

Trina Struble Principal

KEYBOARD INSTRUMENTS

Joela Jones Emeritus

WITH SPECIAL THANKS

Michael Ferraguto

Librarian

This season marks the conclusion of the coaching services of Lyle Steelman — trumpet coach since the 2006–07 season, and Peter Otto — first violin coach since the 2016–17 season. It is with the utmost gratitude that we honor their commitment and dedication to the young musicians of the Cleveland Orchestra Youth Orchestra.

21 2022–2023 Season

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

Allison Siekmann

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

James Hogan

Hathaway Brown School

Yu Yuan

Hawken Mastery School

Kyra Mihalski

Hawken School

Jelani Watkins Hawken School

Sam Hartman

Hudson High School

Roberto Iriarte Hudson High School

Michele Monigold

Jackson Local Schools

Jared Cooey 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 High School

Margaret Karam

Western Reserve Academy

Hilary Patriok

Westlake High School

22 Cleveland Orchestra Youth Orchestra

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

Dmitry Kouzov

Paul Kushious*

Daniel Pereira

Richard Weiss*

Elizabeth Zadinsky

BASS TEACHERS

Patricia Johnston

Tracy Rowell

Bryan Thomas

Susan Yelanjian

FLUTE TEACHERS

Kyra Kester

Audrey Park

Heidi Ruby-Kushious

Debbie Woods

OBOE TEACHERS

Jack Harel

Mary Kausek

Justine Myers

Corbin Stair*

CLARINET TEACHERS

Arlyn Caral

Meghan Colbert

Adrienne Lape

Alix Reinhardt

Craig Wohlschlager

Robert Woolfrey*

BASSOON TEACHERS

Mark DeMio

Judith Guegold

HORN TEACHERS

Alan DeMattia

Sam Hartman

Rose Madonia

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

23 2022–2023 Season
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A festival of concerts, conversations, and ideas, focusing on the American Dream.

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lis eilerstein, cello

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The leveland rchestra

Fran elser-Möst, conductor

Tamara Wilson, soprano (Minnie)

Roman Burdenko, as Jack Rance)

Limmie Pulliam, tenor (Dick Johnson) leveland rchestra Chorus

MAY 19

DRE M E’ E DRE MED; ONG E’ E SUNG; HOPE E’ E HELD

The leveland rchestra

Fran elser-Möst, conductor

F R EE E EN T S

MAY 13

UNITED IN SONG! A COMMUNIT Y CHORAL CELEBRATION

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THE AMERICAN DREAM, THE AMERICAN NIGHTMARE, AND BLACK AMERICAN MUSIC

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EXAMINING THE AMERICAN DREAM PANEL DISCUSSION

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Cleveland Orchestra Youth Orchestra
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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 © 2023 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.

27 2022–2023 Season

music happens here.

Blake Collins ’24 Violin Performance major
bw.edu
BW Symphony Orchestra

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