The Cleveland Orchestra Youth Orchestra Autumn Concert

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Concert November 24, 2024

Autumn Concert

Jack, Joseph and Morton Mandel Concert Hall at Severance Music Center Sunday, November 24, 2024, at 3 PM

Daniel Reith, conductor

LILI BOULANGER (1893–1918)

AARON COPLAND (1900–1990)

SERGEI RACHMANINOFF (1873–1943)

D’un matin de printemps (Of a Spring Morning)

Suite from Appalachian Spring (1945 orchestration)

INTERMISSION

Symphony No. 2 in E minor, Op. 27

I. Largo — Allegro moderato

II. Allegro molto

III. Adagio

IV. Allegro vivace

This program is about 1 hour 30 minutes in length.

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, January 26, at 4 PM.

D’UN MATIN DE PRINTEMPS

Composed: 1917–18

Duration: about 5 minutes

August 21, 1893, in Paris

DIED

March 15, 1918, in Mézy-sur-Seine, France

Lili Boulanger was born into a family of musicians in late 19th-century France. Her father, Ernest , was a composer, her mother, Raïssa , was a singer, and her sister, Nadia , six years her senior, was a composer who became one of the most celebrated teachers of musical composition in the 20th century.

So it was no surprise that Lili’s musical talents were apparent from an early age. But she was also plagued by ill health from age 2, when she contracted a severe case of bronchial pneumonia. She continued to suffer from ailments, most likely due to Crohn’s disease, which caused her severe intestinal distress, leading to her untimely death at age 24. Despite these physical limitations, Lili was able to pursue composition studies through family connections and proximity to Paris’s top musical minds. Paul Vidal , who taught a highly regarded composition class at the Paris Conservatory, lived in her apartment building and provided her with private classes, and Gabriel Fauré, a mentor to Nadia, checked up on the younger sister as well.

In 1903, the French government allowed women to enter the competition for the Prix de Rome, which Ernest Boulanger won in 1835 and remained the highest honor in the country for aspiring composers. Its prize was a four-year residency at the Villa Médici in Rome. Nadia entered the competition four times, making it to the final round in 1907, but never won.

Lili watched her sister’s repeated attempts, and at age 16, told her mother that she would dedicate herself to winning the prize that eluded her sister. Lili made her first attempt in 1912, but withdrew due to health issues. The following year, she redoubled her efforts and became the first woman to win the prestigious prize. Along with her cantata Faust et Hélène, her “frail grace” — notably contrasted against Nadia’s more commanding demeanor, threatening preconceived notions of femininity — moved the jury.

Lili’s subsequent arrival in Rome was delayed several times due to her health, and her residency was cut short due to World War I. Perhaps more importantly, the Prix de Rome prompted the prominent publisher Ricordi to offer Lili a contract, guaranteeing a platform for her work.

D’un matin de printemps (Of a Spring Morning) was one of the last works Boulanger wrote in her own hand. (She dictated her final composition, Pie Jesu , to Nadia.) At least two iterations of the piece preceded this orchestral version, one for violin or flute and piano and another for piano trio.

The French title suggests Lili’s Impressionistic leanings; its delicate beginning, with the initial melody carried by the flutes, evokes a crisp wind after a rainstorm. This is calm at first but then begins to pick up life and speed, filled with shimmering orchestral colors from the woodwinds, celesta, and triangle, as if the world is waking up.

A sense of melancholy enters in the middle section that features a plaintive air voiced by solo violin, a poignant reminder that with life also comes suffering — a truth of which Lili was intimately aware. But this interlude does not last long and the piece grows in vitality toward a rousing end. D’un matin de printemps is, above all, about beginnings — the start of a new day, the emergence of life after a long winter of hibernations, and the promise of what lies ahead.

— Caroline Godard and Amanda Angel

Caroline Godard is a PhD candidate in French at the University of California, Berkely. Amanda Angel is the former Managing Editor of Content for The Cleveland Orchestra.

It's your stage from the moment you get here.

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SUITE FROM APPALACHIAN SPRING

Composed: 1944 for chamber ensemble; arranged for orchestra in 1945

Duration: about 25 minutes

November 14, 1900, in Brooklyn, New York

DIED

December 2, 1990, in Sleepy Hollow, New York

Aaron Copland’s original title for Appalachian Spring was Ballet for Martha . This “Martha” was Martha Graham , the grande dame of modern American dance theater. Composer and dancer had long been great admirers of each other’s work when Graham commissioned Copland to write the music for one of her new ballets. At the premiere in October 1944 — held at the Library of Congress in Washington, DC — Appalachian Spring was presented as part of a triple bill that also included ballets with music by Darius Milhaud and Paul Hindemith .

For her collaboration with Copland, Graham had conceived a ballet taking place in rural Pennsylvania at the beginning of the 19th century. She had not found a title for this work until shortly before the premiere, when she came upon the long poem The Bridge by American poet — and former Cleveland resident — Hart Crane. In it, a section called “The Dance” includes the line “O Appalachian Spring!”

Copland later recalled Graham saying, “The title really has nothing to do with the ballet, I just liked it.” Nevertheless, it was an extremely well-chosen title.

Copland wrote: “I can’t begin to tell you how often people have come up to me and said, ‘Mr. Copland, when I hear your score, I can just see the Appalachians and feel spring!’”

By this point, Copland had already written two ballets on American themes — Billy the Kid and Rodeo Appalachian Spring, however, is different from its predecessors in that its mood is gentle and lyrical from beginning to end, whereas the earlier works had included rough-and-tumble cowboy scenes.

The preface to the printed score provides a summary of the action, written by Edwin Denby :

The work concerns a pioneer celebration in spring around a newly built farmhouse in the Pennsylvania hills in the early part of the last century. The bride-to-be and the young farmerhusband enact the emotions, joyful and apprehensive, which their new domestic partnership invites. An older neighbor suggests, now and then, the rocky confidence of experience. A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate. At the end, the couple are left quiet and strong in their new house.

Although the various musical sections are contrasted in tempo and character, a few recurrent melodic motifs run through the entire work, giving the score a remarkable sense of unity and a fundamental aura of peace and love. A crystallizing moment is the appearance of the Shaker melody “Simple Gifts,” which expresses the joy and contentment of the protagonists accepting the gift of life.

In 1945, Copland received the Pulitzer Prize for Music for Appalachian Spring. That same year, he condensed the original ballet music into a suite, “retaining all essential features but omitting those sections in which the interest is primarily choreographic,” as he himself explained. (He also adapted the music for full orchestra, expanding it from the ballet’s original chamber ensemble of 13 instruments.) In this form, Appalachian Spring started a life of its own away from the ballet stage and quickly became a universal concert favorite. As Copland wrote, “This piece had a great deal to do with bringing my name before a larger public.”

Peter Laki is a musicologist and frequent lecturer on classical music. He is a visiting associate professor of music at Bard College.

SYMPHONY NO. 2 IN E MINOR, OP. 27

Composed: 1906–07

Duration: about 60 minutes

BORN

April 1, 1873, in Semyonovo, Russia

DIED

March 28, 1943, in Beverly Hills, California

Johannes Brahms is well known for a long reluctance to compose his First Symphony, until he felt old enough and mature enough (he was 43 by the time of the premiere) to offer something worthy of himself and of the heritage of Beethoven’s symphonies. Beethoven himself had not written a symphony until he was 30.

For Sergei Rachmaninoff, however, the difficulty was writing not his first symphony but his second. His First Symphony was composed in 1895–96 and first performed in St. Petersburg the next year. The concert was one of the famous flops of musical history, when a poor performance incompetently conducted by Alexander Glazunov was savaged by conservative critics — and rejected by the public.

The effect on Rachmaninoff was devastating. For three years, he lost confidence in his ability to compose. His recovery was effected in part by hypnosis (or that new medical procedure allowed him to reconsider his outlook and to believe in himself again). His return to creative work was signaled by the Second Piano Concerto and its immediate success. Yet he still hesitated to attempt another symphony. Although he made some sketches in 1902, he was not ready to embark on the serious effort it needed until 1906.

At this point in his life, Rachmaninoff spent his winters in seclusion in Dresden, Germany. His summers he spent on his country estate in Russia, a perfect setting for the orchestration of a long symphony. The new work was finished the following winter and the first performance took place in St. Petersburg on January, 26, 1908, with Rachmaninoff conducting. This time, the reception was enthusiastic, and the Second Symphony was played all over the world within a few short years.

The first movement has a slow introduction which feels its way towards a climax before it subsides. There follows the movement’s main body, marked Allegro, diffident at first but soon blossoming with hidden warmth, gathering speed and intensity towards a second subject laden with rapturous lyricism. The movement’s long development section displays Rachmaninoff ’s astonishing skill in handling keys and

thematic fragments. After the formal return of the main material, a coda increases the tempo and drives home to the finish.

The second movement is not a conventional scherzo, yet it is swift and light, with touches of color from the glockenspiel in playful dialogue with the violins. The middle section is slower, with a broad melody on the violins. The clarinet introduces the theme with a figure that came back to Rachmaninoff when composing his Symphonic Dances toward the end of his life. Most unexpectedly, this movement breaks into a wild fugue led off by the second violins, and within the fugue there appears an extraordinarily delicate passage of what can only be described as ballet music, involving the heavy brass playing pianissimo.

The slow movement is one of Rachmaninoff ’s most glorious creations, rich and melodious in every detail. Snatches of the first movement are incorporated into the texture and a grand climax is reached using Tchaikovsky ’s formula of pushing the top line ever higher and the bass line ever lower. Once again, the richness of the themes take a long time to work themselves out before the movement can close.

The final movement is also long, but it moves with feverish energy, relaxing only when the grand tune, which we have come to expect in the finales of Russian symphonies, makes its splendid appearance against throbbing triplets. This melody rises and falls with great strides and firmly seals this remarkable triumph of symphonic literature.

Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin, as well as Music in 1853: The Biography of a Year.

SERGEI VASILYEVICH RACHMANINOFF

— Artwork by Eliana Fittante and Chengyu Li

Eliana Fittante is a sophomore oboist who is in her second year of playing in COYO. She also participates in cross country, show choir, and writes both creative prose and poetry. Chengyu Li is a senior cellist in her third year of playing in COYO. She plays in her school’s jazz and marching bands and enjoys making 2D animated short films.

HOW DOES PLAYING RACHMANINOFF MAKE ME FEEL?

Playing Rachmaninoff ’s Second Symphony has been a dream ever since I first heard it. Every movement is pure Rachmaninoff; while each has moments of anxiety, apprehension, and almost tangible paranoia, the symphony is packed to the brim with luscious melodies and loaded harmonies, each of which gushes with rich emotion.

To me, the symphony does an incredible job of showing the uncertainty of life. The little swells and peaks that Rachmaninoff writes seem to ask their own questions, as if the composer is pulling his hair out, deciding between what would fit in his piece and what wouldn’t. His anxiety stems from the failure of his First Symphony, ruthlessly torn apart by critics, which caused him to sink into a deep depression. Through the swells and booming climaxes, we can step into Rachmaninoff’s shoes and feel for ourselves the apprehension and uncertainty building up in his soul as he contemplates how to recover his career — if it’s even possible. This pattern continues until the end of the fourth movement, at which point Rachmaninoff lets himself go with one final triumphant moment.

This highlights another aspect of what makes Rachmaninoff’s symphony so compelling: the gorgeous melodies scattered throughout. The effortlessness with which they move and progress through different harmonies gives an unrivaled sense of euphoria to the listener, as if, in these few moments of serenity, Rachmaninoff is so overwhelmed with emotion that he has no choice but to let it all out. In these few melodies, I see Rachmaninoff showing his true potential as a composer, as if he’s telling the listener, “This is who I can really be.” It’s a way for Rachmaninoff to show what he’s really feeling besides the stress and pent-up anxiety. And because these moments are so few and far between in the piece, they’re extra cherished because they provide a little solace in an otherwise tumultuous experience.

Listening to this piece is an experience of its own and playing it has not disappointed me at all. The orchestra and I have had a lot of fun learning and rehearsing Rachmaninoff’s Second Symphony, putting our blood, sweat, and tears into making every moment “pop” as the composer intended.

Aiden Tian is a senior cellist who is in his fourth year playing in COYO. He also enjoys doing Science Olympiad, woodworking, and coaching a string quartet, and hopes to study engineering in college.

FIRST VIOLINS

Aika Birch

CONCERTMASTER

Jackson High School

Carol Huang

ASSISTANT CONCERTMASTER

Hathaway Brown

Brayden Qi

Hawken School

Harris Wang

Solon High School

Mason Zhang

Shaker Heights High School

Lydia Andres

Homeschooled

Alice Han

Beachwood High School

Peter Dzero

Stanton Middle School

Andrew Heinzen

Cleveland Heights High School

Sophia Jiang

Solon Middle School

Elizabeth Liu

Beachwood High School

Aaron Wei

Solon High School

Julia Astorga

Homeschooled

Alex Jin

Aurora High School

Hannah Lee

Hudson High School

SECOND VIOLINS

Cyprus Foster

PRINCIPAL

Homeschooled

Avaneesh Polaconda

ASSISTANT PRINCIPAL

Strongsville High School

Chengyu Jiang

Solon High School

Cole Krajewski

Twinsburg High School

Kailani Farivar

Solon High School

William Boyd

Ursuline High School

Sujin Kim

Menlo Park Academy

Jerry Du

Hudson High School

Roan Westerbeke

Hawken School

Anika Westerbeke

Hawken School

Cailyn Hua

Western Reserve Academy

Abigail Loeffler

Homeschooled

Abby Hahnenberg

Shaker Heights High School

Esther Hayashi

Hudson High School

Arthur Zhao

Avon High School

VIOLAS

Lindsey Jones

PRINCIPAL

Homeschooled

Jason Wei

ASSISTANT PRINCIPAL

Solon High School

Jason Yi-Kun Zhao

University School

Preston Duncan

Aurora High School

Lydia Huff

Langston Middle School

Elizabeth Pineda

Hawken School

Gabi Levy

Oberlin High School

Jonah Paponetti

Shaker Heights High School

Olivia Hays

Avon High School

CELLOS

Chengyu Li

PRINCIPAL

Beachwood High School

Aiden Tian

ASSISTANT PRINCIPAL

Hawken School

Louis Wang

Solon High School

Nicholas Jacques

Hawken School

Elena Ziegler

Copley High School

Michael Zhu

University School

Claire Hua

Western Reserve Academy

Seraphina Huang

Menlo Park Academy

Kaiden Honaker

Twinsburg High School

Belinda Zhu

Olentangy Liberty Middle School

Cate Dzero

Western Reserve Academy

Oliver Krishnaney

University School

BASSES

Travis Phillips

PRINCIPAL

University School

Sullivan Wiggins

ASSISTANT PRINCIPAL

Shaker Heights High School

Luca Brusco

Brunswick High School

Bobby Johnston

Brecksville-Broadview

Heights High School

Kate Davis

Firestone CLC

Abigail Kovach

Lakewood High School

Giada Pulig

Avon High School

FLUTES

Ashley Beall C

Green High School

Cole Flores R

Strongsville High School

Zachary Moskowitz B

Shaker Heights High School

Sreehita Mudiraj

Strongsville High School

PICCOLOS

Ashley Beall B, R

Cole Flores C

OBOES

Eliana Fittante C

Ontario High School

Andrew Kelly R Bay High School

Isabel Martin

Walsh Jesuit High School

Christopher Wang B

Solon High School

ENGLISH HORN

Isabel Martin B, R

CLARINETS

Nicholas Garrett R

Cleveland School of the Arts

Willa Kenny C

Saint Joseph Academy

Evan Lee B

Hudson High School

Leia Schnell

Strongsville High School

BASS CLARINET

Willa Kenny B, R

BASSOONS

Meghan Janke

Green High School

Alessio Matera

Lakewood High School

Bernadette Slattery B, R

Westlake High School

Angie Stump C

Copley High School

CONTRABASSOON

Alessio Matera B

HORNS

Jack Berendt C, R

Aurora High School

Olivia Simpson B

Strongsville High School

Elena Miller**

Louis Roy**

TRUMPETS

Micah Docuyanan

Strongsville High School

Carter Free

Avon High School

Sam Haskell B

Brunswick High School

Owen Rinaldo C, R

Stow-Munroe Falls High School

TROMBONES

Noah Adkins

Cuyahoga Falls High School

Grace Berendt B, C, R

Aurora High School

Lucas Marques

Westlake High School

Brennon Mitchell

Canfield High School

TUBA

Henry Foster

Copley High School

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

TIMPANI

Nathaniel Pino R

Solon High School

Justin Reimschisel C

Solon High School

PERCUSSION

Matthew Arnold

Orange High School

Nathaniel Pino

Justin Reimschisel

Kelsey Rogers

Shaker Heights High School

HARP

Lina Tian B, C

Hathaway Brown

PIANO

Saya Uejima B, C

Green High School

MANAGER

Kennedy McKain

LIBRARIAN

Nick Taylor

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:

B Boulanger

C Copland

R Rachmaninoff

** Extra/substitute musician

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, The Cleveland Orchestra Youth Orchestra Associate Conductor, The Cleveland Orchestra, Sidney and Doris Dworkin Chair

Symphony No. 6 in E-flat minor, Op. 111

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, being promoted to associate conductor in June 2024. 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.

BORN : April 23, 1891, in what is now Sontsivka, Ukraine

DIED : March 5, 1953, Moscow

▶ COMPOSED: 1944–47

▶ WORLD PREMIERE: October 10, 1947, with Yevgeny Mravinsky leading the Leningrad Philharmonic

▶ CLEVELAND ORCHESTRA PREMIERE: March 17, 1977, led by guest conductor Gennady Rozhdestvensky

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 .

▶ ORCHESTRATION: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, woodblock, tam-tam, tambourine, cymbals, triangle), piano, celesta, harp, and strings

▶ DURATION: about 45 minutes

ON JANUARY 13, 1945 , Sergei Prokofiev conducted the first performance of his Fifth Symphony in Moscow. The new work was well received and continues to be popular today, rivaled in frequency in the concert hall only by his First Symphony, which he had named the Classical Symphony.

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.

Composed during World War II, the Fifth might also be termed “classical” in its conventional form and in its abstract, non-storytelling qualities. It was and is, many people argue, what a symphony ought to be — the exploration of purely musical elements and their combination and relationships. In a sense, such pure

music could even be said to provide escapism in times of trouble. The Romantic age of the 19th has taught us, however, that a does not have to be confined to musical argument. It can also to human experience and directly reference our feelings and experiences. Beethoven’s Fifth is surely about something, even if no one can certain what that something is of its musical journey from darkness to triumph.

Shortly after composing his Sixth Symphony, Sergei Prokofiev was singled out by Soviet for writing “formalist” music.

ABOUT THE CLEVELAND ORCHESTRA YOUTH ORCHESTRA

The Cleveland Orchestra Youth Orchestra is a full symphonic ensemble composed of 93 young musicians drawn from 36 communities in 8 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 2024–25 season marks COYO’s 39th season and the third 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 of music in service to the community.

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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:

VIOLINS

Stephen Tavani

Assistant Concertmaster

Kathleen Collins

Elayna Duitman

Isabel Trautwein

Vladimir Deninzon Emeritus

VIOLAS

Stanley Konopka

Assistant Principal

Lembi Veskimets

Lynne Ramsey Emeritus

CELLOS

David Alan Harrell

Mark Kosower Principal

Paul Kushious

BASSES

Mark Atherton

Scott Haigh Emeritus

FLUTE

Mary Kay Fink

Principal Piccolo | Flute

OBOE

Frank Rosenwein Principal

CLARINET

Robert Woolfrey

BASSOON

Phil Austin Emeritus

HORN

Meghan Guegold Hege

Alan DeMattia Emeritus

TRUMPET

Michael Miller

TROMBONES

Shachar Israel Assistant Principal

James DeSano Emeritus

TUBA

Yasuhito Sugiyama

PERCUSSION

Donald Miller Emeritus

HARP

Trina Struble Principal

KEYBOARD

Joela Jones Emeritus

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

Ethan Eraybar

Avon 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

Sam Portzer

Brunswick High School

Valerie Roman

Brunswick High School

Kyle O’Donnell

Canfield High School

Daniel Heim

Cleveland Heights High School

Robert Davis

Cleveland School of the Arts

Michael Foster

Copley High School

Dustin Harris

Cuyahoga Falls High School

Sloan Stakleff

Firestone CLC

Amy Rach

Green High School

Curtis Prichard

Hathaway Brown

Kyra Mihalski

Hawken School

Roberto Iriarte

Hudson High School

John Rodesh

Hudson High School

Scott Eversdyke

Jackson High School

Elizabeth Hankins

Lakewood High School

Clinton Steinbrunner

Lakewood High School

Emily Cromwell

Langston Middle School

Adonai Henderson

Menlo Park Academy

Erik Kalish

North Olmsted High School

Emily Cromwell

Oberlin High School

Amy Ruff

Olentangy Liberty

Middle School

Elijah Henkel

Ontario High School

Brandon DuVall

Orange High School

Brian Patton

Saint Joseph Academy

Bill Hughes

Shaker Heights High School

Donna Jelen

Shaker Heights High School

Robert Luce

Solon High School

Mark Mauldin

Solon High School

Gerald MacDougall

Solon Middle & High School

Garrett Doty

Stanton Middle School

Greg Newman

Stow-Munroe Falls High School

Andrew Hire

Strongsville High School

Brian King

Strongsville High School

Damon Conn

Twinsburg High School

David Kay

University School

Devon Steve

University School

Nicholas Ratay

Walsh Jesuit High School

Margaret Karam

Western Reserve Academy

Hilary Patriok

Westlake High School

PRIVATE MUSIC TEACHERS

The members of The Cleveland Orchestra Youth Orchestra express gratitude to their private teachers for their support, insight, and expertise:

VIOLIN TEACHERS

Masha Andreini

Gina Bagnoli

Sibbi Bernhardsson

Katherine Bormann*

Wei-Shu Co

Heather Crawford

Vladimir Deninzon

Francesca dePasquale

Wei-Fang Gu*

Liesl Hook-Langmack

Micheal Houff

Amy Lee*

Kimberly Meier-Sims

David Mendieta

Marlene Moses

Elona Pappas

Eugenia Poustyreva

James Rhodes

Sam Rotberg

Carol Ruzicka

Zhan Shu*

Laura Shuster

Yu Yuan*

VIOLA TEACHERS

Abbie Foster

Laura Kuennan-Poper

Ellen Murphy

James Rhodes

Carol Ross

Luke Wardell

Ann Yu

Louise Zeitlin

CELLO TEACHERS

Kellan Degnan

Abbey Hansen

David Alan Harrell*

Dmitry Kouzov

Paul Kushious*

Ida Mercer

Daniel Pereira

Nora Willauer

BASS TEACHERS

Steven Brija

Patricia Johnston

Tracy Rowell

Gavin VanWinkle-Bright

Susan Yelanjian

FLUTE TEACHERS

Lisa Aglioti

Linda Miller

Dawn Schwartz

Jackie Wood

OBOE TEACHERS

Carol Bernhardt

Stephanie Cohn Minter

Corbin Stair*

Danna Sundet

CLARINET TEACHERS

Meghan Colbert

Stanislav Golovin

Dick Ingersoll

Sally Kish

BASSOON TEACHERS

Lydia Byndas

Mark DeMio

Tom English

Judith Guegold

HORN TEACHERS

Alan DeMattia

Melinda Kellerstrass

TRUMPET TEACHERS

Jerry Kleman

Scott Kline

Michael Miller*

Rich Pokrywka

TROMBONE TEACHERS

Thomas Brucoli

Ty Deane

Eric Richmond

Lauren Rudzinskas

TUBA TEACHER

Kenneth Heinlein

PERCUSSION TEACHERS

Thomas Freer

Katy La Favre

Matt Larson

Jennalee Quillen

HARP TEACHER

Jody Guinn

KEYBOARD TEACHER

Haewon Song

* Member of The Cleveland Orchestra

Cleveland Orchestra musician Hans Clebsch coaches COYO horn students in Reinberger Chamber Hall.

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.

CELL PHONES, WATCHES & OTHER DEVICES

Please silence any noise-making devices, including cell phones and watches, prior to the start of the concert.

PHOTOGRAPHY, VIDEOGRAPHY & 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.

FREE MOBILE APP

Get instant access to your tickets for Cleveland Orchestra concerts at Severance and Blossom Music Center 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 & 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 (for 3 to 6 years old) and Family Concerts (for ages 7 and older).

Copyright © 2024 by The Cleveland Orchestra and Musical Arts Association

Editorial: Kevin McBrien, Publications Manager (kmcbrien@clevelandorchestra.com)

Design: Melissa Leone (melissa@melissaleone.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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