Winter Concert February 18, 2024
Manhattan School of Music
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YOUTH CHORUS
Winter Concert Jack, Joseph and Morton Mandel Concert Hall at Severance Music Center Sunday, February 18, 2024, at 7 PM Daniel Reith, conductor
GABRIEL FAURÉ (1845–1924)
Requiem in D minor, Op. 48 I.
Introit and Kyrie
II.
Offertorium
III. Sanctus IV. Pie Jesu V.
Agnus Dei
VI. Libera me VII. In Paradisum Sarah Fleiss, soprano Evan Gray, baritone The Cleveland Orchestra Youth Chorus
INTERMISSION DMITRI SHOSTAKOVICH (1906–1975)
Symphony No. 5 in D minor, Op. 47 I.
Moderato
II.
Allegretto
III. Largo IV. Allegro non troppo
This program is about 1 hour, 45 minutes in length. The Cleveland Orchestra Youth Orchestra’s 2023–24 season is dedicated to the memory of Sarah Gray Gund, 1942–2023. Major support for The Cleveland Orchestra Youth Orchestra is provided by The Geoffrey and Sarah Gund Endowment. This evening’s concert will be broadcast on Ideastream/ WCLV Classical 90.3 FM on Sunday, April 7, at 4 PM.
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REQUIEM IN D MINOR, OP. 48 Composed: 1887–90 Duration: about 45 minutes
BY Gabriel Fauré BORN May 12, 1845, in Pamiers, France DIED November 4, 1924, in Paris
Gabriel Fauré spent 40 years of his life as a church musician, including 28 — from 1877 to 1905 — at one of the largest churches in Paris, La Madeleine, where he had succeeded his teacher Camille Saint-Saëns. Nevertheless, his interests as a composer were primarily secular. He is universally acknowledged as the greatest master of French art song, and a composer of some of the most inspired French chamber music. All the same, his original training had been in sacred music — he was educated at a school specializing in Gregorian chant and Renaissance polyphony. Thus, if the Requiem is an exception in Fauré’s output, it can hardly be a surprise — if not a composer of sacred music by inclination, he was certainly one by training and vocation. The main motivation for Fauré to write the Requiem seems to have been largely musical. As he expressed it in an interview in 1902: “Perhaps my instinct led me to stray from the established path after all those years accompanying funerals! I’d had them up to here. I wanted to do something different.”
Indeed, Fauré’s Requiem is very different from other settings of the Requiem Mass or from 19th-century French sacred music, which was often influenced by the style of opera. It is an intimate and introspective Requiem, where the emphasis is not so much on the tragic aspect of death as rather on the Latin word “Requiem” itself, which means “rest.” In order to achieve this expressive goal, Fauré omitted several sections of the church Requiem service, including the Dies irae (Day of wrath), which depicts the horrors of the Last Judgement, and which had figured so prominently in the Requiem settings of Mozart, Berlioz, and Verdi. While he also omitted the Benedictus section, this can be explained by local liturgical customs. He did, however, include the Libera me (Deliver me), which does contain a reference to the Last Judgement (and thus the drama of the Dies irae is at least briefly invoked). Far from merely leaving things out of his Requiem, Fauré actually added two movements not found in the famous choral-orchestral Requiems before him. These are Pie Jesu (Merciful Jesus), a simple prayer with strong French traditions, and In Paradisum (In Paradise), a short antiphon, or a type of chant normally used to frame psalm recitations, which provides the work with its unforgettably peaceful ending.
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In the Introit and Kyrie, the chorus sings “Requiem aeternam” (Eternal rest) in a subdued, recitative-like manner, followed by a more flowing section, where the tenors and the sopranos sing individual phrases before the full chorus joins in. After a short instrumental prelude, the Offertorium begins with an unaccompanied duo of the altos and tenors, loosely reminiscent of Renaissance polyphonal writing; with the entrance of the basses, the texture is expanded to three-part writing. The middle section, “Hostias et preces” (Sacrifices and prayers), is given to the baritone soloist, who recites it on almost a single note throughout, accompanied by changing melodies and harmonies in the strings. The choral polyphony returns, now in complete four-part harmony. The Sanctus features an ethereal violin solo over a magical background provided by the harp and the violas. As before, the chorus is used soloistically, often with only one section singing at a time, except at the very end. Pie Jesu has the simple rhythmic structure of a church hymn. However, the slow tempo combined with the pure and delicate harmonies of the accompaniment turn it into a uniquely expressive work for solo soprano voice, creating a sacred art song of surpassing beauty. In Agnus Dei, the tenors of the chorus alternate with the full chorus; the tenors’ solo passages express supplication, which increases in intensity with the insistent harmonies of the tutti sections for the entire chorus. At the repetition of the words “Requiem aeternam,” the first movement is briefly recalled. In Libera me, we hear the baritone soloist again, in an arioso that contrasts with the more austere recitative of his earlier appearance. At the words “Dies illa, dies irae” (That day, day of wrath) the tempo becomes more agitated, and a horn call — a single note repeated by the orchestra’s four horns — portrays the trumpet of the Last Judgement. The turmoil, however, is soon over and the gentle theme of the Libera me returns, sung this time by the chorus, with the baritone soloist resuming his leading role shortly before the end. In Paradisum is distinguished by the sixteenth-note figurations of the organ, which surround the sweet soprano melody like ivy branches overgrowing the walls of an old church. The last word the chorus sings is the same as the first: “requiem.” — Peter Laki
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SUNG TEXTS Introit and Kyrie
Introit and Kyrie
Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.
Grant them eternal rest, Lord, and let perpetual light shine upon them.
Te decet hymnus, Deus in Sion, et tibi redetur votum in Jerusalem.
You are praised, God in Zion, and to you vows are made in Jerusalem.
Exaudi orationem meam, ad te omnis caro veniet.
Hear my prayer, to you all flesh will come.
Kyrie eleison. Christe eleison. Kyrie eleison.
Lord, have mercy. Christ, have mercy. Lord, have mercy.
Offertorium
Offertorium
O Domine Jesu Christe, Rex gloriae, libera animas defunctorum de poenis inferni, et de profundo lacu.
O Lord Jesus Christ, King of glory, deliver the souls of the departed from the pains of hell, and from the lowest pit.
O Domine Jesu Christe, Rex gloriae, libera eas de ore leonis, ne absorbeat eas tartarus.
O Lord Jesus Christ, King of glory, deliver them from the lion’s mouth, do not let the abyss swallow them up.
O Domine Jesu Christe, Rex gloriae, ne cadant in obscurum.
O Lord Jesus Christ, King of glory, do not let them fall into darkness.
Hostias et preces tibi, Domine, laudis offerimus. Tu suscipe pro animabus illis, quarum hodie memoriam facimus. Fac eas, Domine, de morte transire ad vitam, quam olim Abrahae promisisti et semini ejus.
Sacrifices and prayers to you, Lord, we offer with praise. Accept them on behalf of the souls of those we commemorate today. Make them, O Lord, to pass from death to life, as you once promised to Abraham and his children.
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Sanctus
Sanctus
Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis.
Holy, holy, holy, Lord God of hosts. Heaven and earth are full of your glory. Hosanna in the highest.
Pie Jesu
Pie Jesu
Pie Jesu Domine, dona eis requiem, sempiternam requiem.
Merciful Lord Jesus, grant them rest, everlasting rest.
Agnus Dei
Agnus Dei
Agnus Dei, qui tollis peccata mundi, dona eis requiem.
Lamb of God, who takes away the sins of the world, grant them rest.
Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es.
May eternal light shine on them, Lord, with your saints forever, for you are merciful.
Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.
Grant them eternal rest, Lord, and let perpetual light shine upon them.
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Libera me
Libera me
Libera me, Domine, de morte aeterna, in die illa tremenda, quando coeli movendi sunt et terra, dum veneris judicare saeculum per ignem.
Deliver me, Lord, from eternal death, on that dreadful day, when heavens and earth shall move, when you come to judge the world through fire.
Tremens factus sum ego, et timeo, dum discussio venerit, atque venture ira.
I am trembling and full of fear, at the judgement that shall come, and also at the coming of your wrath.
Dies illa, dies irae, calamitatis et miseriae, dies illa, dies magna et amara valde. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.
That day, day of wrath, calamity and misery, that great and exceedingly bitter day. Grant them eternal rest, Lord, and let perpetual light shine upon them.
In Paradisum
In Paradisum
In Paradisum deducant Angeli, in tuo adventu suscipiant te martyres, et perducant te in civitatem sanctam, Jerusalem.
May the Angels lead you into Paradise, at your coming may the martyrs receive you and lead you into the holy city, Jerusalem.
Chorus Angelorum te suscipiat, et cum Lazaro quondam paupere aeternam habes requiem.
May the chorus of Angels receive you, and with Lazarus, once a pauper, may you have eternal rest.
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SYMPHONY NO. 5 IN D MINOR, OP. 47 Composed: 1937 Duration: about 45 minutes
Shostakovich wrote the Fifth Symphony in what was certainly the most difficult year of his life. On January 28, 1936, an unsigned editorial in Pravda, the daily paper of the Communist Party, brutally attacked his opera Lady Macbeth of the Mtsensk District, denouncing it as “muddle instead of music.” This condemnation resulted in a sharp decrease of performances of Shostakovich’s music in the ensuing months. Even worse, Shostakovich, whose first child was born in May 1936, lived in constant fear of further reprisals, denunciations, and possibly even more dire acts.
BY Dmitri Shostakovich BORN September 25, 1906, in St. Petersburg
PHOTO BY ROGER & RENATE RÖSSING / COURTESY OF WIKIMEDIA COMMONS
DIED August 9, 1975, in Moscow
The Communist Party, however, quickly realized that the Soviet Union’s musical life couldn’t afford to lose its greatest young talent, and Shostakovich was granted a comeback. Less than a year after being forced to withdraw his Fourth Symphony, Shostakovich heard his Fifth premiered with resounding success in Leningrad on November 21, 1937. But by that time, the Great Terror had begun, with political show trials resulting in numerous death sentences and mass deportations to labor camps. The Great Terror claimed the lives of some of the country’s greatest artists, but Shostakovich was spared.
Could it be that the qualities we admire in the Fifth Symphony today are the same ones that returned the composer to favor in his time? Shostakovich clearly made a major effort to write a “classical” piece here, one that would be acceptable to the authorities and far removed from his avant-garde Fourth Symphony. Whether that makes this new symphony “A Soviet Artist’s Creative Response to Just Criticism,” as it was officially designated at the time, is another question. A lot of ink has been spilled over the meaning of this symphony, particularly its ambiguously triumphant ending. A famous passage in Testimony, Shostakovich’s purported memoirs as edited (and possibly tampered with) by Solomon Volkov, reflects one view of the finale: “It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering, ‘Our business is rejoicing, our business is rejoicing.’”
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As musicologist Richard Taruskin has noted, this interpretation was shared by many people present at the premiere, who had serious doubts about the optimism of the finale. To some, this emotional ambiguity was a flaw in the work, while others saw it as a sign of a hidden message. Both sides of the political fence felt that the finale did not dispel the devastating effects of the third-movement Largo. Whatever the case, Shostakovich’s Fifth stands as a gripping monument to all whose voices were silenced by force or threat. A dramatic and ominous opening motif sets the stage for the symphony’s first movement; a second theme, played by the violins in a high register, is warm and lyrical but at the same time eerie and distant. The music seems to hesitate for a long time, until the horns begin a march theme that leads to intense motivic development and a speeding up of the tempo. It is not a funeral march, but neither is it exactly triumphant. Reminiscent perhaps of some of Mahler’s march melodies but even grimmer, its harmonies modulate freely from key to key, giving this march an oddly sarcastic character. At the climactic moment, the two earlier themes return. The dotted rhythms from the opening are even more powerful than before, but the second lyrical theme, now played by the flute and the horn to the soothing harmonies of the harp, has lost its previous edge and brings the movement to a peaceful, almost otherworldly close. The brief Scherzo movement brings some relief from the preceding drama. Its Ländler-like melodies again bear witness to Mahler’s influence, both in the Scherzo proper and the ensuing Trio section, whose theme is played by a solo violin and then by the flute. The special tone color of the third movement is due to the absence of brass instruments, as well as to the fact that the violins are divided beyond the usual two groups, and into three. This heart-wrenching music turns the march of the first movement into a lament, also incorporating a theme resembling a Russian Orthodox funeral chant. The tension gradually increases and finally erupts about two-thirds of the way through the movement. The opening melody then returns in a more intense rendering. To the end, the music preserves the unmistakable character of grief. The last movement attempts to resolve the enormous tension that has built up over the course of the symphony by introducing a relatively light-hearted march tune. Yet after an exciting development, the music suddenly stops on a set of harsh fortissimo chords and a slower, more introspective section begins with a haunting horn solo. This quiet intermezzo ends abruptly with the entrance of timpani and snare drum, ushering in a recapitulation of the march tune, played at half its original tempo. Merely a shadow of its former self, the melody is elaborated contrapuntally until it suddenly alights on a bright D-major chord in full orchestral splendor — remaining unchanged for more than a minute to end the symphony. — Peter Laki
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FIRST FIRSTVIOLINS VIOLINS Sherry SherryDu Du CONCERTMASTER CONCERTMASTER Hudson HudsonHigh HighSchool School
Carol CarolHuang Huang ASSISTANT ASSISTANTCONCERTMASTER CONCERTMASTER Hathaway HathawayBrown Brown
Sophie SophieNg Ng Avon AvonHigh HighSchool School
Aika AikaBirch Birch Jackson JacksonHigh HighSchool School
Chengyu ChengyuJiang Jiang Solon SolonHigh HighSchool School
Andrew AndrewHeinzen Heinzen Cleveland ClevelandHeights HeightsHigh HighSchool School
Kevin KevinZhao Zhao Solon SolonHigh HighSchool School
Phillip PhillipYao Yao Aurora AuroraHigh HighSchool School
Kaden KadenRunge Runge Hawken HawkenUpper UpperSchool School
Alice AliceHan Han Beachwood BeachwoodHigh HighSchool School
Alex AlexJin Jin Aurora AuroraHigh HighSchool School
Elizabeth ElizabethLiu Liu Beachwood BeachwoodHigh HighSchool School
Brayden BraydenQi Qi Hawken HawkenUpper UpperSchool School
Grace GraceWatters Watters Bio-Med Bio-MedScience ScienceAcademy Academy
Harris HarrisWang Wang Solon SolonHigh HighSchool School
Mason MasonZhang Zhang Shaker ShakerHeights HeightsHigh HighSchool School
Kailani KailaniFarivar Farivar Solon SolonHigh HighSchool School
Cavin CavinXue Xue Western WesternReserve ReserveAcademy Academy
Peter PeterDzero Dzero Hudson HudsonMontessori MontessoriSchool School
Aaron AaronWei Wei Solon SolonHigh HighSchool School
Hannah HannahLee Lee Hudson HudsonHigh HighSchool School
Nathaniel NathanielTisch Tisch Cleveland ClevelandHeights HeightsHigh HighSchool School
Abigail AbigailLoeffler Loeffler Oberlin OberlinHigh HighSchool School
Avaneesh AvaneeshPolaconda Polaconda Strongsville StrongsvilleHigh HighSchool School
James JamesGordon Gordon Cleveland ClevelandSchool Schoolofofthe theArts Arts
Nikita NikitaShu-Li Shu-LiThakore Thakore Hathaway HathawayBrown Brown
Cailyn CailynHua Hua Western WesternReserve ReserveAcademy Academy
VIOLAS VIOLAS Julia JuliaPeyrebrune Peyrebrune PRINCIPAL PRINCIPAL The TheLyceum Lyceum
Lindsey LindseyJones Jones ASSISTANT ASSISTANTPRINCIPAL PRINCIPAL Oberlin OberlinHigh HighSchool School
Milo MiloPage Page Homeschooled Homeschooled
Connor ConnorSmith Smith North NorthOlmstead OlmsteadHigh HighSchool School
Jason JasonWei Wei Solon SolonHigh HighSchool School
SECOND SECONDVIOLINS VIOLINS Hana HanaMazak Mazak PRINCIPAL PRINCIPAL Brecksville-Broadview Brecksville-Broadview Heights HeightsHigh HighSchool School
Anika AnikaWesterbeke Westerbeke ASSISTANT ASSISTANTPRINCIPAL PRINCIPAL Hawken HawkenMastery MasterySchool School
Cyprus CyprusFoster Foster Homeschooled Homeschooled
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Raahil RaahilShammin Shammin Lake LakeRidge RidgeAcademy Academy
Yi-Kun Yi-KunZhao Zhao University UniversitySchools Schools
Elizabeth ElizabethPineda Pineda Hawken HawkenUpper UpperSchool School
CELLOS CELLOS Ada AdaOrtan Ortan PRINCIPAL PRINCIPAL Avon AvonHigh HighSchool School
Stine StineAdkins Adkins ASSISTANT ASSISTANTPRINCIPAL PRINCIPAL Westlake WestlakeHigh HighSchool School
Aiden AidenTian Tian Hawken HawkenUpper UpperSchool School
Elena ElenaZiegler Ziegler Copley CopleyHigh HighSchool School
Louis LouisX.X.Wang Wang Solon SolonHigh HighSchool School
Chengyu ChengyuLiLi Beachwood BeachwoodHigh HighSchool School
Calem CalemNagy Nagy Avon AvonHigh HighSchool School
Evan EvanTanko Tanko Wadsworth WadsworthHigh HighSchool School
Claire ClaireHua Hua Western WesternReserve ReserveAcademy Academy
Nicholas NicholasJacques Jacques Menlo MenloPark ParkAcademy Academy
Kaiden KaidenHonaker Honaker Twinsburg TwinsburgCity CitySchool SchoolDistrict District
Michael MichaelZhu Zhu University UniversitySchool School
BASSES BASSES Travis TravisPhillips Phillips PRINCIPAL PRINCIPAL University UniversitySchool School
Rowan RowanToth-Cseplo Toth-Cseplo ASSISTANT ASSISTANTPRINCIPAL PRINCIPAL Firestone FirestoneCLC CLC
Sullivan SullivanWiggins Wiggins Shaker ShakerHeights HeightsHigh HighSchool School
Jaren JarenJenyk Jenyk Twinsburg TwinsburgHigh HighSchool School
Bobby BobbyJohnston Johnston Brecksville-Broadview Brecksville-Broadview Heights HeightsHigh HighSchool School
Luca LucaBrusco Brusco Brunswick BrunswickHigh HighSchool School
Kate KateDavis Davis Firestone FirestoneCLC CLC
FLUTES Cole Pamela Flores F Strongsville High School
Christine Kim Hathaway Brown
Elena Ko S Avon High School
Jonah Miller
HORNS Jack Berendt F, S Aurora High School Strongsville High School
Samuel Zozulya Strongsville High School
Ontario High School
Jamil Halabi
TRUMPETS Frank Berendt Aurora High School
Joey Dunn S
Bay High School
Isabel Martin Walsh Jesuit High School
Brunswick High School
Owen Rinaldo Stow-Munroe Falls High School
TROMBONES Grace Berendt Aurora High School
Elden Schrembeck F, S Lake High School
CLARINETS Nicholas Garrett
Green High School
MANAGER Kennedy McKain LIBRARIAN Nick Taylor
Coventry High School
Strongsville High School
Andrew Kelly S
KEYBOARD & ORGAN Saya Uejima F, S
Layan Atieh**
Sam Haskell F OBOES Eliana Fittante
Hathaway Brown
Olivia Simpson
Homeschooled
PICCOLO Cole Pamela Flores S Christine Kim Elena Ko
HARP Lina Tian F, S
Thomas Toth Mentor High School
DIRECTOR OF INSTRUMENTAL PATHWAYS Lauren Generette
Performers are listed alphabetically within each woodwind, brass, and percussion section. Superscripts indicate principal player according to the following key: F Fauré S Shostakovich ** Extra/substitute musician
Cleveland School of the Arts
Ava Haehn S Riverside High School
Luke Kuang University School
Abby Maher F Strongsville High School
BASSOONS Meghan Janke Green High School
Bernadette Slattery S Westlake High School
Alton French F **
TUBA Casey Mobley S Wadsworth High School
TIMPANI Justin Reimschisel F Solon High School
David Schrembeck S Lake Local Schools
PERCUSSION Abby Bemak Lakeland Community College
Nathaniel Pino Solon High School
Justin Reimschisel
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 and the Gloria P. and William E. Dean Jr. Endowed Fund. Touring for COYO is made possible by The Jules and Ruth Vinney Cleveland Orchestra Youth Orchestra Touring Fund.
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
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DANIEL REITH Music Director, The 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, 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. 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, 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, Reith is a talented pianist and chamber musician, having performed in concerts and competitions throughout Germany, Norway, and other countries. Reith has been awarded several scholarships in Germany, where he’s worked with orchestras such as the Hamburg Philharmonic and Neubrandenburg Philharmonic. 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.
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SARAH FLEISS Soprano
Soprano Sarah Fleiss is a first-year master’s student at the Curtis Institute of Music. This season, she performs the final trio from Der Rosenkavalier with Yannick Nézet-Séguin and the Curtis Symphony Orchestra, in Handel’s L’Allegro, il Penseroso ed il Moderato, and as the title role in Janáček’s The Cunning Little Vixen. In the 2022–23 season, she sang Ginevra in Handel’s Ariodante with Curtis Opera Theatre, Tempesta di Mare, and David Stern; went on a national tour with Eric Owens and members of Curtis on Tour; and sang the world premiere of Tania Léon’s song cycle In the Fields. A lover of art song repertoire, Fleiss has also performed in recital with Warren Jones and attended the Verbier Festival’s Atelier Lyrique. Prior to Curtis, she attended Columbia University and the Juilliard-Exchange program. She won the 2023 Hal Leonard Art Song competition, the 2023 Emerging Artist Award from the Rochester Oratorio Society, the 2023 Shirley Rabb Winston Scholarship, and has received grants from the George London and Gerda Lissner foundations.
EVAN GRAY Baritone
Evan Gray, a bass-baritone from Zurich, Switzerland, is a first-year master’s student at the Curtis Institute of Music, studying under Mark Schnaible. As part of Curtis Opera Theatre, he has performed the roles of Dulcamara in L’elisir d’amore, Rè di Scozia in Ariodante, Don Alfonso in Così fan tutte, and Fiorello in Il barbiere di Siviglia. He has also performed the roles of Bartolo in Le nozze di Figaro and Leporello in Don Giovanni with Saluzzo Opera Academy. In concert, he has performed as a soloist in Handel’s Messiah with Syracuse Symphoria and Mozart’s Requiem with the Wichita Symphony Orchestra. As a recitalist, he performs the Schubert cycle Winterreise this season. Gray previously studied with David and Jane Thorner and participated in masterclasses with Robert Holl and Gerald Finley.
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YOUTH CHORUS Serin Arikan Hawken School
Cameron Armstrong Mentor High School
Mo Armstrong
Bryn Gordon Hawken School
Cora Gross Laurel School
Eva Gross
Hawken School
Laurel School
Anonabelle Arndt
Mirabel Hattier
Mentor High School
Matilda Averre Independence High School
Aistė Beržinskas West Geauga High School
Katherine Bohlen Hawken Mastery School
Jack Bonnet Cuyahoga Valley Christian Academy
Addison Borders Hawken Mastery School
Isaiah Bragg Hawken School
Ian Broihier University School
Abs Burkle Cleveland Heights High School
Marin Carlson Kenston High School
Jordan Carpenter Heartland Christian School
Zelie Cerda-Malicdem Aurora High School
Manzili Stephen Nykolas Denis University School
Clementine Diamond-Ortiz Lakewood High School
Natasha Dudick Padua Franciscan High School
Henry Dyck Cleveland Heights High School
Margaret Dyck Cleveland Heights High School
Claire Friend Mentor High School
Jade Gladue* Laurel School
Beaumont School
Matthew Hébert Independence High School
Mary Kate Hever Lake Catholic High School
May Hunsaker Shaker Heights High School
Parla Ilaslan Hawken School
Vishwum Kapadia University School
Gregory Karulin Solon High School
Shannon Katzenberger Lakewood High School
Kelly Kirchner Laurel School
Rohan Kumar University School
Eden Lake North High School
Olivia Lennerth Ohio Connections Academy
Kingsten Lin University School
Gianna Londrico Independence High School
River Longmoon Hawken School
Marlena MacPherson Theodore Roosevelt High School
Ashlyn Mannion Mentor High School
Aurora McCloud Aurora High School
Adelyn Nicholson Mayfield High School
Maggie Nicholson Mayfield High School
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Maggie Panichi Independence High School
Jospeh Robert Pokrywka St. Edward High School
Eli Posa Beachwood High School
Venus Rodrick Normandy High School
Savannah Roggy Albert Einstein Academy of Ohio
Maren Scott Hawken School
Thea Sherck Hawken School
Alan Slankard Rocky River Middle School
Stephanie Speck Strongsville High School
Katie Stahle Theodore Roosevelt High School
Henry Stamm Homeschooled
August Olivia Sumlin Laurel School
Hans Swain University School
Gabrielle Tan Mayfield High School
Michael Wellendorf II Mayfield High School
Sophia Williams Lakewood High School
Rosalina Winney Mentor High School
Luke Yamane Mentor High School
Sophia Young* Berkshire High School
Stephanie Jeane Zucker Rocky River High School
COLLABORATIVE PIANIST Daniel Overly MANAGER Taylor Logan Mills * Student Stage Manager
DANIEL SINGER Director, The Cleveland Orchestra Youth Chorus
Daniel Singer joined the choral conducting staff of The Cleveland Orchestra in 2012 as assistant director of The Cleveland Orchestra Youth Chorus. He was promoted to assistant director of choruses and director of the Youth Chorus with the start of the 2018–19 season. Singer is also the Robert Page Music Director for The Mendelssohn Choir of Pittsburgh, the “chorus of choice” for the Pittsburgh Symphony Orchestra. Singer has taught high school and college music in Ohio and the Chicago area. He recently served on the music faculty of The College of Wooster and was the director of music at University School in Hunting Valley, Ohio. Singer has performed with Quire Cleveland and Apollo’s Fire and has sung as baritone soloist with ensembles throughout Northeast Ohio. He holds degrees in music education and conducting from Northwestern University and Michigan State University.
DEVON STEVE Assistant Director, The Cleveland Orchestra Youth Chorus
Devon Steve is in his second season as assistant director of The Cleveland Orchestra Youth Chorus, of which he is an alumnus. He currently serves as director of music at University School and is a regular guest conductor and clinician across the Midwest. Previously, he was assistant director of vocal music and theater arts at Roosevelt High School in Des Moines. Steve received a bachelor’s degree in music education from St. Olaf College and a master’s degree in choral conducting from Simpson College. An active choral singer, he is currently a baritone in The Cleveland Orchestra Chorus and Chamber Chorus.
Support for COYC is provided by Iris and Tom Harvie, Kenneth and Kathleen Outcalt, The Wesley Family Foundation, and The Edward and Ruth Wilkof Foundation.
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ABOUT THE CLEVELAND ORCHESTRA YOUTH ORCHESTRA The Cleveland Orchestra Youth Orchestra is a full symphonic ensemble composed of 90 young musicians drawn from 41 communities in 11 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 2023–24 season marks COYO’s 38th season and the second 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 life-changing power in service to the community.
Auditions for The Cleveland Orchestra Youth Orchestra’s 2024–25 season will take place in May. Learn more about requirements and how to apply at clevelandorchestrayouthorchestra.com. Open to middle and high school-aged instrumentalists. The application deadline is Friday, March 22. For questions, call 216-456-8410 or email coyo@clevelandorchestra.com.
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ABOUT THE CLEVELAND ORCHESTRA YOUTH CHORUS The 2023–24 season marks The Cleveland Orchestra Youth Chorus’s 33rd season. Founded in spring 1991, The Cleveland Orchestra Youth Chorus was established to help raise awareness of choral music-making in the schools of Northeast Ohio and encourage students to continue their choral singing activities through college and into adulthood. The Youth Chorus provides professional guidance for talented singers in grades 9 through 12 beyond their high school experience and to perform works from the standard choral-orchestral repertoire in collaboration with both The Cleveland Orchestra and The Cleveland Orchestra Youth Orchestra. This season, the members represent more than 30 schools and communities from five counties across Northeast Ohio. The Youth Chorus participates in several performances each season, including a joint concert at Severance Music Center with The Cleveland Orchestra Youth Orchestra. Choristers who participate in the Youth Chorus Chamber Ensemble have additional opportunities to perform in the Holiday Concerts with The Cleveland Orchestra. In addition to performances at Severance Music Center, the Youth Chorus participates in concerts and community engagement programs in the greater Cleveland area. Ensemble singers also attend workshops and masterclasses with noted choral directors and clinicians such as Eric Whitacre, Jason Max Ferdinand, Marie BucoyCalavan, Cheryl Frazes Hill, Jeffery Redding, and Tesfa Wondemagegnehu. The Youth Chorus has collaborated with The Cleveland Orchestra on many Classical Series concerts and feature films at both Severance Music Center and Blossom Music Center, under the batons of Franz Welser-Möst, John Adams, Jakub Hrůša, Brett Mitchell, and more. These unique experiences afford students once-in-a-lifetime opportunities.
Auditions for the 2024–25 season will be held this spring. Visit coyc.cochorus.com for more information.
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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: VIOLIN Stephen Tavani Assistant Concertmaster
Kathleen Collins Yoko Moore Emeritus
Vladimir Deninzon
HORN Hans Clebsch Alan DeMattia Emeritus
TRUMPET Jack Sutte
Emeritus
VIOLA Stanley Konopka Assistant Principal
Lynne Ramsey
TROMBONE Shachar Israel Assistant Principal
James DeSano Emeritus
Emeritus
Jeffrey Irvine Emeritus
TUBA Yasuhito Sugiyama
CELLO David Alan Harrell
PERCUSSION Don Miller
BASS Mark Atherton Martin Flowerman
Paul Yancich
Emeritus
FLUTE Jessica Sindell
Emeritus Emeritus
HARP Trina Struble Principal
Assistant Principal
KEYBOARD Joela Jones
OBOE Frank Rosenwein
Emeritus
Principal
CLARINET Robert Woolfrey BASSOON Phil Austin Emeritus
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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: Jason Burdett Aurora High School
Mason Smith Aurora High School
Jesse Martin Avon High School
Devon Gess Bay High School
David Luddington Beachwood High School
Allison Siekmann Beachwood High School
Steven Cocchiola Brecksville-Broadview Heights High School
Scott Hanna Brecksville-Broadview Heights High School
Ethan Eraybar Brunswick High School
Valerie Roman Brunswick High School
Daniel Heim Cleveland Heights High School
Robert Davis Cleveland School of the Arts
Dianna Richardson Cleveland School of the Arts
Basil Kochan Copley High School
Brandon Cummings Coventry High School
Matthew Kennedy Firestone CLC
Sloan Stakleff Firestone CLC
Amy Rach Green High School
James Hogan Hathaway Brown
Curtis Prichard Hathaway Brown
Stanislav Golovin Hawken School
Liesl Hook Hawken School
Kyra Mihalski Hawken School
Yu Yuan* Hawken School
Roberto Iriarte Hudson High School
James Rhodes Hudson Montessori School
Scott Eversdyke Jackson High School
Brian King Strongsville High School
Damon Conn Twinsburg High School
David Kay University School
Devon Steve University School
Dana Hire Wadsworth High School
Nicholas Ratay Walsh Jesuit High School
Margaret Karam Western Reserve Academy
Hilary Patriok Westlake High School
Jared Cooey Lake Local Schools
Molibeth Cardwell
* Member of The Cleveland Orchestra
Lake Ridge Academy
Joseph Kucel The Lyceum
Steve Poremba Mentor High School
Erik Kalish North Olmsted High School
Emily Cromwell Oberlin High School
Elijah Henkel Ontario High School
Donna Jelen Shaker Heights High School
Gerald MacDougall Solon High School
Mark Mauldin Solon High School
Greg Newman Stow-Munroe Falls High School
Andrew Hire Strongsville 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 Andrea Belding-Elson Wei-Shu Co Kathleen Collins* Heather Crawford Vladimir Deninzon Francesca dePasquale Kim Gomez* Wei-Fang Gu* Liesl Hook Callista Koh Amy Lee* James MacQueen Kimberly Meier-Sims Sonja Braaten Molloy* Eugenia Poustyreva James Rhodes Barton (Sam) Rotberg Carol Ruzicka Laura Shuster Stephen Sims Jennifer Walvoord Joy Wiener Ann Yu Yu Yuan* VIOLA TEACHERS Jeffrey Irvine Laura Keunen-Poper Carol Ross Lembi Veskimets* Eric Wong Louise Zeitlin CELLO TEACHERS Martha Baldwin* Kellan Degnan Marla Gigliotti Abbey Hansen David Alan Harrell* Hannah Hintz Dimitry Kouzov Paul Kushious* Daniel Pereira Elizabeth Zadinsky 22
BASS TEACHERS Patricia Johnston Tracy Rowell Bryan Thomas Gavin VanWinkle-Bright Susan Yelanjian FLUTE TEACHERS Kyra Kester Alexa Still Audrey Whartenby Jackie Wood OBOE TEACHERS Carol Bernhardt Kathleen Fling Corbin Stair* Danna Sundet CLARINET TEACHERS Stanislav Golovin Mary Ann Neiman Tom Tweedle Robert Woolfrey* BASSOON TEACHERS Cynthia Cioffari Tom English Judith Guegold HORN TEACHERS Alan DeMattia Melinda Kellerstrass TRUMPET TEACHERS Michael Fox Jerry Kleman Michael Miller* Erik Sundet TROMBONE TEACHERS Adam Landry Eric Richmond Lauren Rudzinskas
TUBA TEACHER Christopher Blaha PERCUSSION TEACHERS Katy La Favre Jennalee Quillen Luke Rinderknecht Joan Wenzel HARP TEACHER Jody Guinn KEYBOARD TEACHER Mayumi Kikuchi * Member of The Cleveland Orchestra
PURSUE
Your
PASSIONS
For application information visit esm.rochester.edu/admissions 23
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 Assistive-Listening 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 © 2024 by The Cleveland Orchestra and Musical Arts Association Kevin McBrien, Editorial Assistant (kmcbrien@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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NEW FACILITIES 40% EXPANSION Acoustically superior practice, recording, rehearsal and performance spaces. music.admissions@msu.edu (517) 355-2140 2024 Audition dates: Jan. 19–20 | Feb. 2–3, 16–17 | Mar. 8–9
WHERE ARTISTRY + INNOVATION SHARE CENTER STAGE
MUSIC.CMU.EDU 26
APPLICATION DEADLINE
DECEMBER 1
It's your stage from the moment you get here.
At Oberlin, you don't line up behind graduate students vying for ensemble positions, world premiere performances, or touring opportunities. You're at the center of the action from day one. Learn more at oberlin.edu/conservatory.
Expect the Extraordinary AU D I T I O N S
APR 20, 10 AM–2 PM MAY 19, 2 PM– 6 PM WHO? INCOMING 9 –12 GR ADERS
YOUTH CHORUS
If you are passionate about singing and expanding your music education, then you should audition for The Cleveland Orchestra Youth Chorus. Our singers come from different schools and diverse backgrounds and enjoy being in a supportive environment with peers who share their love for music. Audition Requirements: Sing a song that best shows us who you are as a singer. Need some suggestions? We have those too. For more information, visit our website at coyc.cochorus.com
Jo Arnold ’24
Double Bass Performance Major
Creativity happens here | bw.edu
Student of Charles Carleton