CLEVELAND ORCHESTRA
Youth Orchestra .
V I N AY PA R A M E S WA R A N
M U S I C D I R E C TO R
May 1O, 2O19 Severance Hall
2O18 SEASON 2O19
Prelude Concert Cleveland Orchestra Youth Orchestra
Friday evening, May 10, 2019, at 7:00 P. M. in Reinberger Chamber Hall Prior to each Cleveland Orchestra Youth Orchestra concert at Severance Hall, a special Prelude Concert takes place featuring chamber music performances. This evening’s instrumental ensemble represents our pioneering Advanced Performance Seminar program, in which Cleveland Orchestra coaches also perform in the chamber ensembles with Youth Orchestra students. Coaches are denoted with (*) next to their name.
ANTONÍN DVOŘÁK (1841-1904)
from Serenade for Strings in E major, Opus 22 1. Moderato 2. Menuetto: Allegro con moto 3. Scherzo: Vivace Alison Chan, violin Moonhee Kim, violin Miho Hashizume, violin* Lizzy Huang, violin Yun-Ting Lee, violin* Alex Zhu, violin Ginger Deppman, viola Sonja Braaten Molloy, viola* Theodora Bowne, cello Zach Keum, cello Ania Lewis, cello Scott Dixon, bass*
SEVERANCE HALL
Prelude Concert
3
1986
1OO 2
More than 100 past and present Cleveland Orchestra members have coached the musicians of COYO, providing an extraordinary mentoring relationship — from today’s best to the talents of tomorrow.
overseas tours
COYO has undertaken two international concert tours, to Europe in 2012 and to China in 2015. They travel to Europe again in June 2019 for their third international tour.
1500 YOUNG MUSICIANS
4 Four members of COYO are currently members of The Cleveland Orchestra, after college training and having won an audition.
1500 aspiring young musicians have been members of the Cleveland Orchestra Youth Orchestra in its first three decades, learning together as an ensemble the ways and workings of a professional orchestra.
COYO has performed over 200 concerts, including a series of three concerts each year at Severance Hall, plus performances in communities throughout Northeast Ohio, and on concert tour.
Through last season . . . COYO has performed the world premieres of
Eight music directors have led COYO since 1986: Jahja Ling, Gareth Morrell, Steven Smith, James Gaffigan, Jayce Ogren, James Feddeck, Brett Mitchell, and Vinay Parameswaran.
200
newly-written pieces.
Founded in 1986, the Youth Orchestra’s first public concert was held on February 1, 1987.
15
Cleveland Orchestra Youth Orchestra
BY THE NUMBERS
CLEVELAND ORCHESTRA
Youth Orchestra .
V I N AY PA R A M E S WA R A N
M U S I C D I R E C TO R
Friday evening, May 10, 2019, at 8:00 P. M. Severance Hall — Cleveland, Ohio Vinay Parameswaran, conductor BÉLA BARTÓK (1881-1945)
MAX BRUCH (1838-1920)
Dance Suite 1. 2. 3. 4. 5. 6.
2O18 SEASON 2O19
Moderato — Allegro molto — Allegro vivace — Molto tranquillo — Comodo — Finale: Allegro
Scottish Fantasy, Opus 46 1. 2. 3. 4.
Grave — Adagio cantabile Allegro Andante sostenuto Allegro guerriero
JULIA SCHILZ, violin
INTERMISSION DMITRI SHOSTAKOVICH
Symphony No. 5 in D minor, Opus 47
(1906-1975)
1. 2. 3. 4.
Moderato Allegretto Largo Allegro non troppo
LIVE RADIO BROADCAST TONIGHT
This evening’s concert is being broadcast live on WCLV (104.9 FM). The program will be rebroadcast as part of regular weekly programming on WCLV, on Saturday evening, June 22, at 8:00 p.m. and again on Sunday, August 4, at 4:00 p.m. UPCOMING YOUTH ORCHESTRA CONCERT
A special free send-off concert in June, just before the Youth Orchestra embarks on their third international concert tour, to Europe. June 7 — Friday at 7 p.m. at Severance Hall
SEVERANCE HALL
Concert Program
5
CLEVELAND ORCHESTRA
Youth Orchestra .
V I N AY PA R A M E S WA R A N VIOLIN Christina Bencin Chagrin Falls Middle School
Célina Béthoux
Erica Nie Brecksville-Broadview Heights High School
CONCERTMASTER S Home schooled
Maya Schane
Kaylee Bontrager
Julia Schilz
PRINCIPAL SECOND VIOLIN B Br ASSISTANT CONCERTMASTER S Central Christian High School
Kai Bryngelson CONCERTMASTER B Br Ohio Connections Academy
Alison Chan Oberlin High School
Neige DeAngelis Hathaway Brown
Claudia Hamilton Hawken School
Nathan Hammond Firelands High School
Cole Hoff Westlake High School
Nathan Hsiao Westlake High School
Andrew Hu Hudson High School
M U S I C D I R E C TO R
Oberlin High School Hathaway Brown
Claire Schmeller
Wenlan Jackson ASSISTANT CONCERTMASTER B Br Home schooled
Safe Jassani Lakewood High School
Richard Jiang Solon High School
Lea Kim Solon High School
Moonhee Kim ASSISTANT PRINCIPAL SECOND VIOLIN B Br Beachwood High School
Owen Lockwood Shaker Heights High School
Samantha Ma Revere High School
Rachel Mancini Brunswick High School
HARP Anastasia Seckers
Shaker Heights High School
David Cho
Lakewood High School
Natalie Man **
Hudson High School
Katarina Davies
FLUTE Kayleigh Fisher B
PRINCIPAL B Br Home schooled
Kenston High School
Faith Geho ASSISTANT PRINCIPAL S Twinsburg High School
Annettte Lee S
PRINCIPAL SECOND VIOLIN S Dublin Jerome High School
Anna Goldberg
Vardaan Shah
Hansen Song
Lauren Hertzer
Medina High School
Christine Shih
Chagrin Falls High School
Wendi Song Chagrin Falls High School
Lily Waugh Br
Shaker Heights High School
Kate Huang Home schooled
Zach Keum
ASSISTANT PRINCIPAL SECOND VIOLIN S Hawken School
PRINCIPAL S ASSISTANT PRINCIPAL B Br University School
Alexandra Xuan
Matthew Kwok
Lake High School
Tal Yankevich Beachwood High School
Enzo Zhou Western Reserve Academy
Alex Zhu Solon Middle School
Walsh Jesuit High School
Ania Lewis
Home schooled
Natalie Brennecke Home schooled
Ginger Deppman Oberlin High School
Mitchell Likovetz Hudson High School
Charlotte Lo ASSISTANT PRINCIPAL S Shaker Heights High School
Alana Melvin Brunswick High School
Ayano Nakamura PRINCIPAL S ASSISTANT PRINCIPAL B Br Hudson High School
Kristen Nedza Solon High School
Mikel Rollet PRINCIPAL B Br Ohio Virtual Academy
Sandy Shen Solon High School
Cleveland Heights High School
PICCOLO Kayleigh Fisher S Vardaan Shah B OBOE Amelia Johnson S Bay High School
Gilmour Academy
Victoria Schaefer
Kamryn McCrory
Cuyahoga Falls High School
Cleveland School of the Arts
Helena Norman
Leo Sherwood Br Hawken School
Hudson High School
Zach Walker
Adam Ryan VIOLA Gunnar Brennecke
Solon High School Strongsville High School
Laurel School
Moshi Tang
Lizzy Huang Shaker Heights High School
CELLO Theodora Bowne
Manchester High School
Hudson High School
Amanda Withrow B
Annie Zhang
Eastwood High School
Ohio Connections Academy
BASS JoHanna Arnold Fairview High School
Jacob Kaminski ** Jacqueline Marshall Laurel School
ENGLISH HORN Zach Walker B CLARINET Rachel Beil Br Canfield High School
Namjun Cho S Hudson High School
Maxwell Moses PRINCIPAL B Br Elyria High School
Amelia Martens B
Jamie Park
Lauren Thomas
PRINCIPAL S Beachwood High School
Katherine Wang
Westlake High School
Cirrus Rowland-Seymour ASSISTANT PRINCIPAL Shaker Heights High School B Br
Damian Rutti Mentor High School
Mark Yost
Kenston High School Hathaway Brown School
E-FLAT CLARINET Katherine Wang S BASS CLARINET Namjun Cho B
Mentor High School
Michael Yuhos Hudson High School
6
Youth Orchestra
2 018 - 19 S E A S O N
2O18 SEASON 2O19 BASSOON Izzy Ergh B Copley-Fairlawn High School
Josh Prunty S Midview High School
Emily Schrembeck Br Lake High School
CONTRABASSOON Allen Jiang S ** Josh Prunty B HORN Sophie Calabrese S Shaker Heights High School
Nicolas Haynes B Home schooled
Lauren Jensen Bay High School
Angeline Monitello Br
TRUMPET Xan Denker S Twinsburg High School
Kira Marjanovic B Lakewood High School
Nick McGan Br
Howland High School
Alex Yonek Brunswick High School
Medina High School
Brian Randall Br S Firestone Community Learning Center
Avon High School
Brett Nickolette Avon Lake High School
TROMBONE Felicia Goggins Br Firestone Community Learning Center
PERCUSSION Nicole Buckland Alexa Clawson
Lake High School
Juyoung Lee B Westlake High School Brunswick High School
TUBA Will Bowers B
LIBRARIAN Austin Land
Shaker Heights High School Shaker Heights High School
Brian Randall
Performers are listed alphabetically.
PIANO Wending Wu B S
PRINCIPAL PLAYERS B = Bartók Br = Bruch S = Shostakovich ** = extra/substitute musician
Hudson High School
Ryan Yonek
MANAGER Lauren Generette
Ian Marr
Derek Gullett S
Gilmour Academy
Maria Scotto Di Uccio
TIMPANI Nicole Buckland B
CELESTA Safe Jassani B Wending Wu S Hudson High School
Cuyahoga Falls High School
Nick Kusic Br S Stow Munrow High School
The Cleveland Orchestra Youth Orchestra is supported by a grant from the Martha Holden Jennings Foundation.
Endowed Funds The future of classical music shines brightly through the talented young musicians of the Cleveland Orchestra Youth Orchestra. A gift to The Cleveland Orchestra’s endowment in support of the Youth Orchestra is a wonderful way to show your commitment to the future of this important program while providing vital funding for The Cleveland Orchestra. In addition to the endowed musicians’ chairs listed at right, created by supportive donors, The George Gund Foundation has made a generous gift to the Orchestra’s endowment in support of the Youth Orchestra, the estate of Jules and Ruth Vinney has generously endowed a Touring Fund to support the Youth Orchestra’s performances beyond Northeast Ohio, and Christine Gitlin Miles has made a generous planned gift to honor Jahja Ling, founding music director of the Youth Orchestra.
SEVERANCE HALL
Youth Orchestra
The following seven 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 Bass, Anthony F. Knight Memorial Chair Principal Flute, Virginia S. Jones Memorial Chair Piccolo, Patience Cameron Hoskins Chair Principal Harp, Norma Battes Chair Principal Keyboard, Victor C. Laughlin M.D. Memorial Chair
For more information about how you can support the Youth Orchestra through an endowed chair or fund, please contact The Cleveland Orchestra’s Development Office by calling 216-231-8006.
7
CLEVELAND ORCHESTRA
Youth Orchestra .
P H OTO BY R O G E R MA S T R O I A N N I
V I N AY PA R A M E S WA R A N
T H E 2 01 8 -1 9 S E A S O N marks the
Cleveland Orchestra Youth Orchestra’s 33rd season and the second year under the direction of Vinay Parameswaran. The Cleveland Orchestra Youth Orchestra is one of the Cleveland area’s premier musical destinations for aspiring student musicians — and one of the most acclaimed youth orchestras in the United States. Since its inaugural concert in 1987, the Youth Orchestra has performed more than 130 concerts and provided a musical home to 1,500 talented young instrumentalists. Founded for The Cleveland Orchestra by Jahja Ling, then the ensemble’s resident conductor, the Cleveland Orchestra Youth Orchestra provides serious young music students of middle school and high school age with a pre-professional orchestral training experience in a full symphony orchestra. The unique musical experiences that the Youth Orchestra offers include weekly coachings with members of The Cleveland Orchestra, rehearsals and performances in historic Severance Hall, and opportunities to work with internationally renowned
8
M U S I C D I R E C TO R
guest artists and conductors. Those guests have included Marin Alsop, Pierre Boulez, Stéphane Denève, Christoph von Dohnányi, Giancarlo Guererro, Witold Lutosławski, YoYo Ma, Gil Shaham, Michael Tilson Thomas, Antoni Wit, and Cleveland Orchestra Music Director Franz Welser-Möst. The creation of the Cleveland Orchestra Youth Chorus in 1991, to provide a similar experience for young vocalists from across Northeast Ohio, also widened the repertoire for the Youth Orchestra and expanded the Youth Orchestra’s preparation for potential professional roles. As one of the best youth orchestras in North America, and one of just a few affiliated with a top-tier orchestra, the Cleveland Orchestra Youth Orchestra has garnered a number of prestigious accolades. In 1998, the Youth Orchestra was selected to participate in the second National Youth Orchestra Festival sponsored by the League of American Orchestras. In 2001, the Youth Orchestra appeared on the Family Concert Series at New York’s Carnegie Hall, and, in June 2009, they traveled to Boston for a series of four performances. The ensemble’s recent sched-
Cleveland Orchestra Youth Orchestra
Prague, 2012
SEVERANCE HALL
China, 2015
Music Directors of the
Cleveland Orchestra YOUTH ORCHESTRA Jahja Ling 1986-1993
Gareth Morrell 1993-1998 ule has included performances at the Ohio Music Education Association Conference in February 2015, and for the League of American Orchestras national conference held in Cleveland in May 2015. In March 2018, the ensemble performed with the Cleveland Orchestra Youth Chorus in a special Arts Advocacy Day concert presentation for legislators at the Ohio Statehouse in Columbus during Music in Our Schools month. Regular international touring is now a planned part of the Youth Orchestra’s schedule. Their first overseas tour, to Europe in June 2012, featured concerts in Prague, Vienna, and Salzburg, as well as educational programs and historic tours. A second overseas tour, to four cities in China, took place in June 2015, and a third in 2019 will take the ensemble to Europe. In recent years, several Cleveland Orchestra Youth Orchestra students have been featured on the nationally syndicated radio series From the Top, and several former members have won full-time positions in major orchestras, including four in The Cleveland Orchestra. Members of the Youth Orchestra come from forty communities in a dozen
2 018 - 19 S E A S O N
Steven Smith 1998-2003
James Gaffigan 2003-2006
Jayce Ogren 2006-2009
James Feddeck 2009-2013
Brett Mitchell 2013-2017
Vinay Parameswaran from 2017
counties throughout Northeast Ohio to rehearse together each week in Severance Hall. The Youth Orchestra season runs from August through May and includes a threeconcert subscription series at Severance Hall, with concert broadcasts on Cleveland’s classical music station WCLV (www.wclv.org), and including a variety of community concerts by both the full orchestra and chamber groups of Youth Orchestra members.
Cleveland Orchestra Youth Orchestra
9
CLEVELAND ORCHESTRA
Youth Orchestra Graduating Members . . .
Rachel Beil (clarinet 2018-2019) plans
to attend the University of Cincinnati College-Conservatory of Music to major in clarinet performance
Kaylee Bontrager (violin 2017-2019) is taking a gap year to practice
and prepare for studies at a music conservatory as a violin performance major Sophie Calabrese (horn 2015-2019) will enroll at the University of Texas at Austin and will major in horn performance College
Alison Chan (violin 2018-2019) will attend Oberlin
Namjun Cho (clarinet 2018-2019) will major in bioengineering at the Univer-
sity of Illinois Urbana-Champaign
Xan Denker (trumpet 2017-2019) will attend
Boston University to major in trumpet performance
Izzy Ergh (bassoon 2018-2019)
expects to study bassoon performance at Baldwin Wallace University Conservatory of Music
Kayleigh Fisher (flute 2018-2019) plans to study music education at Capital
University in Bexley, Ohio and major in nursing
Faith Geho (cello 2014-2019) will attend Ursuline College Derek Gullett (trombone 2017-2019) will attend the Curtis Insti-
tute of Music to major in trombone performance
Claudia Hamilton (violin 2016-2019)
plans to pursue biomedical engineering and economics at the University of Pennsylvania Nathan Hammond (violin 2018-2019) will study music performance at Southeastern University in Florida, with a minor in church music
Nicolas Haynes (horn 2016-2019)
will attend the Manhattan School of Music in horn performance (cello 2017-2019) will study pre-med at the University of Michigan
Lauren Hertzer Cole Hoff (violin
2017-2019) plans to attend Grand Valley State University in Allendale, Michigan, to major in music and criminal justice
Kate Huang (cello 2018-2019) will enroll at the Cleveland
Institute of Music, studying cello performance
Safe Jassani (violin 2018-2019) will
attend Oberlin Conservatory of Music to study violin performance
Lauren Jensen
(horn 2017-2019) will pursue a degree in horn performance at the Cleveland Institute of Music, with a dual degree in economics from Case Western Reserve University Amelia Johnson (oboe 2016-2019) will study music education and oboe performance at the University of Iowa
Zachary Keum (cello 2016-2019) will major in cello perfor-
mance, attending Northwestern University
Lea Kim (violin 2015-2019) will attend
Yale University to pursue a double major in music and chemistry
Nicholas Kusic
(tuba 2018-2019) plans to attend the University of Akron to study music education Annette Lee (flute 2018-2019) will enroll at Princeton University to study computer science Charlotte Lo (viola 2016-2019) plans to attend Rice University in Houston, Texas, to study biochemistry and cell biology
Rachel Mancini (violin 2018-2019) will attend the
Unviersity of Cincinnati College-Conservatory of Music to earn a bachelor of music degree in violin performance, while also studying psychology
10
Graduating Members
Amelia Martens (clarinet
2 018 - 19 S E A S O N
2O18 SEASON 2O19
Bravo! 2018-2019) will attend Northwestern University and major in chemistry
Ian Marr (percussion 2017-2019) will enroll as a music performance or
composition major at the University of Cincinnati College-Conservatory of Music Kira Marjanovic (trumpet 2018-2019) plans to join the United States Marine Band Kamryn McCrory (cello 2017-2019) will study music education at Bowling Green State University
Nick McGan (trumpet 2018-2019) will attend Cleveland State University
to study music performance
Alana Melvin (viola 2018-2019) plans to major in mu-
sic, with a minor in French, at Lawrence University in Appleton, Wisconsin Angeline Monitello (horn 2016-2019) will attend the University of Michigan in Ann Arbor and pusue a double major in chemical engineering and horn performance Ayano Nakamura (viola 2015-2019) will enroll at the New England Conservatory to pursue viola performance
Helena Norman (cello 2018-2019) plans to attend Wheaton
College in Illinois to pursue a major in cello performance
Mikel Rollet (viola
2017-2019) is going to attend the Juilliard School of Music in New York to earn a bachelor of music degree in viola performance
Victoria Schaefer (oboe 2017-2019) will
be double majoring in accounting and oboe performance at Cleveland State University Maya Schane (violin 2017-2019) intends to major in neuroscience, with a minor in music, at Tulane University
Claire Schmeller (violin 2017-2019) plans to attend
Princeton University and pursue a major in political science
Emily Schrembeck
(bassoon 2017-2019) will attend the University of Akron to study music education Sandy Shen (violin 2016-2019) expects to study economics with a foreign language minor at Swarthmore College
Christine Shih (violin 2015-2019) will enroll at Ohio State
University to study biochemistry on a pre-med track
Lauren Thomas (clarinet
2017-2019) plans to attend Ohio State University to study biomedical engineering Katherine Wang (clarinet 2017-2019) currently expects to attend Columbia University as either an economics or applied math major with a pre-med track
Amanda Withrow
(oboe 2018-2019) will attend Bowling Green State University to major in oboe performance
Wending Wu (keyboard 2016-2019) will attend Dartmouth College to study
computer science and engineering
Alexandra Xuan (violin 2016-2019) plans to
study life sciences at the University of Toronto
Alex Yonek (horn 2017-2019) will
attend Capital University in Bexley, Ohio, to major in music education More than 1500 students have been members of the Cleveland Orchestra Youth Orchestra during the ensemble’s first three decades, representing 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, and community service.
SEVERANCE HALL
Graduating Members
11
of artistry and scholarship with deep musicianship skills and entrepreneurial savvy. Eastman graduates emerge as leaders in their respective ďŹ elds, create their own professional opportunities, and shape the future of music.
For application information visit esm.rochester.edu/admissions
Vinay Parameswaran P H OTO BY R O G E R MA S T R O I A N N I
Music Director Cleveland Orchestra Youth Orchestra Assistant Conductor Elizabeth Ring and William Gwinn Mather Endowed Chair The Cleveland Orchestra
T H E 2 0 1 8 - 1 9 S E A S O N marks
Vinay Parameswaran’s second year as a member of The Cleveland Orchestra’s conducting staff. In this role, he leads the Orchestra in several dozen concerts each season at Severance Hall, Blossom Music Festival, and on tour. He also serves as music director of the Cleveland Orchestra Youth Orchestra, and his contract in both positions was recently extended through the 2020-21 season. Mr. Parameswaran came to Cleveland following three seasons as associate conductor of the Nashville Symphony (2014-2017), where he led over 150 performances. In the summer of 2017, he was a Conducting Fellow at the Tanglewood Music Center. Recent seasons have included Mr. Parameswaran making his guest conducting debuts with the Rochester Philharmonic and the Tucson Symphony, and also made his subscription debut with the Nashville Symphony conducting works by Gabriella Smith, Grieg, and Piev. Other recent engagements have included debuts with the National Symphony Orchestra, Milwaukee Symphony, Jacksonville Symphony, Eugene Symphony, and the Vermont Symphony Orchestra.
2 018 - 19 S E A S O N
In addition to his concert work, Mr. Parameswaran has led performances of Mozart’s The Magic Flute and Donizetti’s The Elixir of Love with Curtis Opera Theater. He also assisted with Opera Philadelphia’s presentation of Verdi’s Nabucco. Mr. Parameswaran has participated in conducting masterclasses with David Zinman at the National Arts Centre Orchestra in Ottawa, as well as with Marin Alsop and Gustav Meier at the Cabrillo Festival of Contemporary Music. He is the conductor on the album Two x Four featuring the Curtis 20/21 ensemble alongside violinists Jaime Laredo and Jennifer Koh, featuring works by Bach, David Ludwig, Philip Glass, and Anna Clyne. A native of the San Francisco Bay Area, Mr. Parameswaran played percussion for six years in the San Francisco Symphony Youth Orchestra. He holds a bachelor of arts degree in music and political science from Brown University, where he began his conducting studies with Paul Phillips. He received a diploma from the Curtis Institute of Music, where he studied with Otto-Werner Mueller as the Albert M. Greenfield Fellow.
Youth Orchestra: Music Director
13
DEGREES
Hugh A. Glauser School of Music
Bachelors Masters Doctorate PROGRAMS Music Education Performance Conducting Ethnomusicology Music Theory/Composition
Dr. Jungho Kim Director of Orchestra
All programs are accredited by the National Association of Schools of Music.
ORCHESTRA
AT
KENT STATE
FACULTY
Our highly skilled and dedicated teaching faculty are consumate performers, appearing with groups such as The Cleveland Orchestra*, Erie Philharmonic, Miami String Quartet, Blue Water Chamber Orchestra and more. Home of the Kent Blossom Music Festival.
WOODWINDS
Diane McCloskey Rechner | flute Danna Sundet | oboe Amitai Vardi | clarinet Mark DeMio | bassoon Noa Even | saxophone
STRINGS
Jung-Min Amy Lee | violin* Cathy Meng Robinson | violin Joanna Patterson Zakany | viola* Keith Robinson | cello Bryan Thomas | double bass
BRASS
Kent Larmee | horn Michael Chunn | trumpet David Mitchell | trombone Ken Heinlein | tuba
PERCUSSION Matthew Holm
ADMISSIONS AND AUDITIONS GRADUATE ADMISSIONS
AUDITIONS AND ADMISSIONS
COURSES AND TRANSFER
Michael Chunn Graduate Coordinator
Jesse Leyva Recruitment Coordinator
Dana Brown Assistant to the Director
mchunn@kent.edu
jleyva@kent.edu
dabrown@kent.edu
SCHOLARSHIPS AND GRADUATE ASSISTANTSHIPS AVAILABLE!
WWW.KENT.EDU/MUSIC | 330-672-2172
Dance Suite by Béla Bartók
i
composed 1923
N T H E 1 9 2 0 S , Bartók’s music reached a peak of
modernity and dissonance, from which he retreated in his later years, and which bestowed on him, in the years between the two world wars, a reputation for aggressive ugliness that neither Arnold Schoenberg nor Igor Stravinsky ever matched. With hindsight, we can unBéla derstand that the horrified critics of the time were faced BARTÓK with sounds they had never expected to hear in their born March 25, 1881 lives, but also that this music is far from ugly or formless. in Banatian, NagyszentIt may not display the beautiful lines we love in Mozart miklós, Hungary and Schubert, but it is full of lyrical feeling, of youthful died September 26, 1945 energy, of highly inventive rhythms and harmonies, and in New York City it has a shapeliness that can quite reasonably be seen to be a legacy from the classical masters. The two violin sonatas, which most clearly exhibit this extreme style, were followed in 1923 by a work that reached in a different direction and won the hearts of the public. This was the Dance Suite, composed to celebrate the 50th anniversary of the formal linking of the two capitals of Hungary, Buda and Pest, into a single city. Kodály’s Psalmus hungaricus was commissioned for the same occasion, and the senior Hungarian composer, Ernö Dohnányi (grandfather of Christoph von Dohnányi, The Cleveland Orchestra’s music director laureate) conducted both works in a festival in November 1923. Bartók’s name was rapidly getting better known outside of Hungary in those years, partly through the exertions of his publisher, Universal Edition of Vienna, and partly as a result of a much publicized performance, under Václav Talich, at the Prague ISCM orchestral festival in May 1925, which catapulted Bartók’s work onto the international stage. Over the following two years the Dance Suite received over sixty performances in major European and American centers. Bartók regarded himself equally as an ethnographer and as a composer, for he had devoted much of his life up to this point to the study of folk music from many regions of Eastern Europe and even Turkey and North Africa. He assembled many thousands of tunes and devoted long hours to cataloging and analyzing them. Most of his works betray the influence of folksong and often include it in some form. The Dance Suite was a deliberate announcement of the composer’s dedication to the study of folksong and of his creative approach in turning this resource into modern orchestral music. This is not music to dance to, however, even if dance movements lie at its origin. The melodies are recognizably ethnic, but the treatment is free in its orchestration and in Bartók’s fondness for varying the tempo with accelerations and the opposite, with interruptions and combinations, all of which proclaim a highly sophisticated musician handling raw materials in a way that never deprives them of their distinctive
2 018 - 19 S E A S O N
About the Music
15
character. The six movements run continuously without pauses between. The last movement is built as a finale, recalling snatches from the earlier dances. The fifth dance is the only one to maintain a regular 4/4 beat (very nearly all the way through). The rest make play with alternating time-signatures that break up the rhythms, create hiccups, and insert a certain drama into the action. The first two movements illustrate the stop-go style very well, while the third is the liveliest and the most tuneful. The fourth dance is the only one to sustain a gentle pace, with dense string chords as background to wandering melodic phrases in the woodwinds. Most remarkable is Bartók’s gift for apt and pointed orchestration, whether in the intrusions of piano or celesta, or in the extreme ranges of the bassoon, or featuring animated trombones. And although the tunes are not strictly his invention, he composes for them as if they were. In so many ways, the Dance Suite was the perfect answer to all those who despaired of modern music and lamented that it could never be tuneful. Performance Time: 15 minutes
Hear it again . . . RADIO BROADCASTS Cleveland Orchestra Youth Orchestra concerts are recorded for broadcast across Northeast Ohio on ideastream/WCLV (104.9 FM). Some concerts are also broadcast live from Severance Hall. Following broadcasts, many of these programs are also available for on-demand streaming for a period of two weeks through WCLV. Here is a listing of upcoming radio broadcasts on WCLV here in Northeast Ohio: Sunday, June 2, at 4 p.m. — rebroadcast of March 2019 Concert Friday, June 7, at 8 p.m. — live broadcast of Europe Tour Send-Off Concert Saturday, June 22, at 8 p.m. — rebroadcast of May 2019 Concert Sunday, August 4, at 4 p.m. — rebroadcast of May 2019 Concert
16
About the Music
2 018 - 19 S E A S O N
CarnegieMellonMusic @CMUmusic
cmumusic
T CarnegieMellonMusic
MUSIC.CMU.EDU
Scottish Fantasy, Opus 46 by Max Bruch composed 1879-80
T
H E F O L K M E L O D I E S of Scotland enjoyed great
popularity on the European continent throughout the 19th century. Beethoven made arrangements of a number of them, and Schumann re-composed some of Robert Burns’s lyrics in German translation. Indeed, many composers wrote Scottish dances of different Max kinds. And the novels of Walter Scott inspired composBRUCH ers from Berlioz (Rob Roy Overture) to Donizetti (Lucia di Lammermoor) to Bizet (La Jolie Fille de Perth). born January 6, 1838 Cologne, Germany Max Bruch, a highly respected contemporary — and one-time rival — of Johannes Brahms, was no exdied October 2, 1920 ception to the general trend. As early as 1863 (when he Berlin was 25 years old), Bruch arranged Twelve Scottish Folksongs for voice and piano, based on a collection published in Edinburgh at the end of the 18th century. He also used Scottish melodies in his choral piece Fair Ellen (1867) and also in the finale of his Symphony No. 1 (1868). In the 1870s, Bruch’s career took him to England, where he developed an association with the Liverpool Philharmonic, eventually becoming the ensemble’s principal in 1880. We can easily believe that his appreciation for Scottish folk music increased even further as he traveled across the British Isles. The Scottish Fantasy is without doubt the most important of Bruch’s Scottish-inspired works. Indeed, it is one of his most popular works, with frequent performances contending only with the oft-played Violin Concerto in G minor and Kol Nidrei for appearances on recordings and in the concert hall. Bruch was fortunate enough to have the two greatest violinists of his time, Joseph Joachim and Pablo de Sarasate, as his friends. And even though those two artists were often locked in a bitter rivalry, they both performed Bruch’s music. Not coincidentally, Bruch’s catalog contains no fewer than nine works for violin and orchestra, featuring three concertos and six Konzertstücke, or “concert works,” that include the Scottish Fantasy, which is a concerto-length work and was sometimes billed as the “Scottish Concerto” in 19th-century printed programs. The Scottish Fantasy is in four movements. Throughout much of this music, the harp serves very nearly as a second solo instrument alongside the violin. The opening movement begins with a somber introduction. The solo violin enters with an emotional “quasi-recitative” that soon melts into the folksong-based first movement itself, marked Adagio cantabile. It is interesting to note that here Bruch, as in many of his concertos, makes the first movement a slow one — a characteristic that sets him apart from most concerto writers. This first movement is based on the tune “Auld Rob Morris,” first introduced by the orchestra with lavish arpeggios from the harp and later taken over by the solo violin. The second movement is a Scherzo on the air “The Dusty Miller,” with the interval of open fifths in the accompaniment imitating bagpipes. The
18
About the Music
2 018 - 19 S E A S O N
third movement is based on the song “I’m Down for Lack of Johnnie.” The last movement is marked Allegro guerriero (meaning a “warlike Allegro”) and is built on the rousing Scottish battle song “Scots wha hae wi’ Wallace bled” — a song linked by tradition to Robert the Bruce and the Battle of Bannockburn in 1314. (Berlioz used this same tune in his Rob Roy Overture.) While this feisty song is contrasted with a theme of a quieter demeanor, the virtuosic fireworks become more and more dazzling until the soloist, somewhat abruptly (and triumphantly) restates the melody of “Scots wha hae” in its original unadorned form one final time. Performance Time: 25 minutes
SOLOIST Julia Schilz Julia Schilz appears as soloist in today’s concert as co-winner of the Cleveland Orchestra Youth Orchestra’s 2018-19 Concerto Competition. Today, at age 16, she is a student of Jan Sloman and attends Hathaway Brown School. She began her violin training at the age of four with the Cleveland Institute of Music’s Sato Center for Suzuki Studies. Her musical influences include William Preucil, Kimberly Meier-Sims, and Stephen Sims. She has been a member of the Cleveland Orchestra Youth Orchestra since 2016, and has served as the ensemble’s concertmaster. She has also been concertmaster for the Cleveland Institute of Music Preparatory and Camerata String Orchestras, as well as for the Suzuki String Orchestra of the Americas in Minneapolis. Ms. Schilz has performed in masterclasses for Paul Kantor, James Ehnes, Peter Salaff, Alice Joy Lewis, Stephen Rose, and the Miami and Cavani String Quartets. She also had the opportunity to collaborate with Nicolas Kendall (violinist of Time for Three ensemble), participating in the premiere performance of his Taszo Tango. She performed Wieniawski’s Violin Concerto No. 2 as first-prize winner of the Lakeland Civic Orchestra’s Young Artists Competition, and also won first prize in the Sigma Alpha Iota String Competition. She has also been featured as concerto soloist with the Cleveland Institute of Music Orchestra. In addition, she participated in the 2018 Heifetz International Music Institute, and was featured in their Stars of Tomorrow concert series. In recent years, Ms. Schilz attended the 2016 and 2017 Encore Chamber Music Festivals under the tutelage of Jinjoo Cho and has participated in the Cleveland Orchestra Youth Orchestra’s Advanced Performance Seminar of chamber music presentations. She was featured in honors recitals at the Ithaca Suzuki Institute for Talent Education. In addition to violin, she has studied piano for the past eleven years at CIM and is currently a student of Gerardo Teissonniere. As an intern with Kolkata Classics (a Secretary of State award-winning NGO), she toured India in the spring of 2018 to share classical music as well as social service and advocacy. Julia Schilz enjoys sharing her love for music with the greater community and treasures her volunteer work with the music therapy division of Cleveland’s Music Settlement. 2 018 - 19 S E A S O N
About the Soloist
19
Discover an extensive suite of step-up & professional instruments nts at
take ttak ta ake a minor drive & experience experien ri n a Major difference The largest selection sel in the Midwest at better than internet pricing - with the kind of service you deserve.
CALL US TODAY TO SCHED SCHEDULE YOUR PRIVATE APPOINTMENT only Ohio’s
usic Store 8 years
20
running
10167 Royalton Rd. North Royalton, OH 44133 (440) 237-9400 | (877) RMC-1964 www.royaltonmusic.com www.royalto
Music • Rentals • Lessons • Repairs Kindermusik • Competitive School Bids Accessories • Music Therapy • Pro Instruments
SEVERANCE HALL
Symphony No. 5 in D minor, Opus 47 by Dmitri Shostakovich composed 1937
A
S O N E O F T H E M O S T frequently performed
symphonies from the 20th century, Shostakovich’s Fifth has achieved the status of a modern classic. Western audiences have long admired its great dramatic power and melodic richness. But the history of the work and its deeply ambiguous Russian context reveal additional layers of meaning that, more than eight decades after the premiere, we are still trying to fully understand. Dmitri Shostakovich wrote the Fifth Symphony in what SHOSTAKOVICH was certainly the most difficult year of his life. On Janborn September 25, 1906 uary 28, 1936, an unsigned editorial in Pravda, the daily in St. Petersburg paper of the Communist Party, brutally attacked his died August 9, 1975 opera Lady Macbeth of the Mtsensk District, denouncing in Moscow it as “muddle instead of music.” This condemnation resulted in fewer performances of Shostakovich’s music. What was worse, Shostakovich, whose first child was born in May 1936, lived in constant fear of further reprisals, denunciations, and, possibly, probably, even more dire acts. The Communist Party, however, soon 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 (now St. Petersburg) on November 21, 1937. By that time, the “Great Terror” had begun, with political show trials resulting in numerous death sentences and mass deportations to the infamous labor camps. The Great Terror claimed the lives of some of the country’s greatest artists — including the poet Osip Mandelshtam, the novelist Isaac Babel, and the theater director Vsevolod Meyerhold. But Shostakovich, somehow, was spared. Could it be that the qualities in the Fifth Symphony that are so admired today were the very same ones that saved the composer’s life at the time? Shostakovich clearly made a major effort to write a “classical” piece in this work, one that would be acceptable to the authorities and was as far removed as possible from his avant-garde Fourth Symphony. Whether that made this new symphony into “A Soviet Artist’s Creative Response to Just Criticism,” as it was officially designated at the time, is a different question entirely. The music is so profound and sincere as to transcend any kind of political expediency. This symphony was clearly written as a response to something, but not in the sense of a chastised schoolboy mending his ways. Rather, this is a great artist reacting to the cruelty and insanity of the times. MEANING BEHIND THE MUSIC?
A lot of ink has been spilled over the “meaning” of this symphony. That Shosta-
2 018 - 19 S E A S O N
About the Music
21
kovich had a special message to communicate becomes clear at the very beginning, when what would usually be an up-tempo first-movement is replaced by a brooding opening movement that stays in a slow tempo for half its length. The third and fourth movements are equally telling, with what seems to be a completely-transparent statement of memorial music, followed by an ambiguously triumphant ending. An official Soviet interpretation of the Fifth Symphony was propounded by the novelist Alexey Tolstoy (a relative of Leo Tolstoy, the author of War and Peace), who, even though he was a royal count, was loyal to the Soviet regime. In an influential article, Alexey Tolstoy viewed the symphony as a kind of musical life story. This interpretation was echoed in an often-quoted article, published under Shostakovich’s name (but most likely not written by him): “The theme of my symphony is the formation of a personality. At the center of the work’s conception I envisioned just that: a man in all his suffering. . . . The symphony’s finale resolves the tense and tragic moments of the preceding movements in a joyous, optimistic fashion.” Yet critics — even Soviet ones — have had a hard time reconciling this with what they actually heard. The famous passage in Testimony, Shostakovich’s purported memoirs as edited (and possibly tampered with) by Solomon Volkov, reflects a radically different view: “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’.” Shostakovich wrote his Fifth Symphony in a context and with a level of public examination far from normal. The Soviet government demanded triumphant optimism in all the arts, and failure to deliver it could result in severe criticism, or worse. Nevertheless, Shostakovich’s music resists simple black-and-white labels. The generation that came of age after the Revolutions in Russia in 1917 (when Shostakovich was just 11 years old) knew no political reality other than Communism. Many Russians in the 1920s believed that the new world the Communists promised was sure to be an improvement over the Czarist regime. Yet by the time of the Stalinist purges of the 1930s, many of the country’s best minds had become profoundly disillusioned, especially in view of the enormous sacrifices in human lives that the Party was trying to pass off as the price of progress. Even though they were facing a horrible situation, the Russian people saw no viable political alternatives for their country. Voicing even the slightest dissent with the regime could result in instant deportation, disappearance, or death. This irreconcilable conflict between hope and reality was a fundamental fact of life. With its ambiguous ending, Shostakovich’s Fifth stands as a gripping monument to that conflict and all whose voices were silenced by force or threat. Performance Time: 45 minutes
22
About the Music
SEVERANCE HALL
Youth Orchestra Coaching Staff These members of The Cleveland Orchestra are serving as coaches for the Cleveland Orchestra Youth Orchestra. VIOLIN Peter Otto First Associate Concertmaster
WOODWIND John Rautenberg Flute Emeritus
Kathleen Collins
Frank Rosenwein
VIOLA Stanley Konopka
Jeffrey Rathbun
Principal Oboe
Assistant Principal
Assistant Principal Oboe
Robert Woolfrey Clarinet
CELLO Richard Weiss First Assistant Principal
Jonathan Sherwin Bassoon / Contrabassoon
BRASS Hans Clebsch
BASS Mark Atherton
Lyle Steelman
Principal
Principal
EMERITUS COACHES Erich Eichhorn VIOLIN EMERITUS
Yoko Moore VIOLIN EMERITUS
Stephen Geber CELLO EMERITUS
Martin Flowerman
David Alan Harrell
HARP Trina Struble
KEYBOARD Joela Jones
Horn Assistant Principal Trumpet
Shachar Israel Assistant Principal Trombone
Yasuhito Sugiyama Principal Tuba
BASS EMERITUS
Phillip Austin BASSOON EMERITUS
James DeSano TROMBONE EMERITUS
With Special Thanks To Robert O’Brien LIBRARIAN
PERCUSSION Thomas Sherwood
THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director Richard K. Smucker, Board Chair André Gremillet, President & CEO
Education and Community Programs Joan Katz Napoli, Senior Director Sandra Jones, Manager, Education and Family Concerts Lauren Generette, Manager, Cleveland Orchestra Youth Orchestra Mollibeth Cox, Manager, Community and Learning Programs Sarah Lamb, Manager, Community Engagement Austin Land, Artistic/Operations Coordinator, Youth Orchestra and Education Programs Courtney Gazda, Coordinator, Education and Community Programs
2 018 - 19 S E A S O N
Appreciation
2O18 SEASON 2O19
23
Youth Orchestra Teachers The members of the Cleveland Orchestra Youth Orchestra express gratitude About the Music to their private teachers for their insight, patience, and expertise. VIOLIN TEACHERS Masha Andreini Amy Barlowe Sibbi Bernhardsson Alan Bodman Wei-Shu Co Vladimir Deninzon* Wei-Fang Gu* Rachel Huch Joan Kwuon Amy Lee* Jessica Lee* Sonja Molloy* Yoko Moore Eugenia Poustyreva Mary Price Erin Reidhead Stephen Rose* Stephen Sims Jan Sloman Cory Smith Sofia Vitek VIOLA TEACHERS Lisa Boyko* Jeffrey Irvine Eva Kennedy Laura Poper Laura Shuster Ann Smith Louise Zeitlin CELLO TEACHERS Martha Baldwin* Rachel Bernstein David Alan Harrell* Pamela Kelly Andris Koh Melissa Kraut Ida Mercer Daniel Pereira Keith Robinson Richard Weiss*
24
BASS TEACHERS Ann Gilbert Tracy Rowell Henry Samuels Bryan Thomas Chris Vance Matthew Yoke FLUTE TEACHERS Doris Malone Linda Miller Heidi Ruby-Kushious Dawn Schwartz OBOE TEACHERS Nermis Mieses Corbin Stair* Danna Sundet Cynthia Warren Craig Wohlschlager CLARINET TEACHERS Angelo Fortini Jennifer Magistrelli Amitai Vardi
TROMBONE TEACHERS Michele Kuhar Leland Matsumura Richard Stout* Bernard Williams IV TUBA TEACHERS Ray Harcar Justin White PERCUSSION TEACHERS Matthew Dudack Ryun Louie Luke Rinderknecht Will Wedmedyk HARP TEACHERS Xiao Lei Salovara KEYBOARD TEACHERS Nancy Bachus
* Member of The Cleveland Orchestra
BASSOON TEACHERS Renee Dee Jessica Smith HORN TEACHERS Hans Clebsch* Meghan Guegold Melinda Kellerstrass TRUMPET TEACHERS Amanda Bekeny Nina Bell Michael Miller* Rich Pokrywka James Sentz
Appreciation
SEVERANCE HALL
Special free Tour Send-off Concert on June 7 showcases Youth Orchestra prior to departure for third international tour to Europe The Cleveland Orchestra Youth Orchestra is set to undertake its third international tour this summer. The 2019 tour to Europe June 10-20 features concerts in Austria, Slovakia, and Hungary. The Youth Orchestra will be conducted by its music director, Vinay Parameswaran. The tour repertoire features works by Johannes Brahms, Béla Bartók, and John Adams. Franz Welser-Möst, music director of The Cleveland Orchestra, will join the group on tour in Austria, coaching the ensemble in Linz and conducting Brahms’s Tragic Overture on June 12 at the Abbey of St. Florian. A special exchange partnership with Anton Bruckner Private University of Linz will also take place, involving students from COYO and the University in chamber music coaching and performance, funded by voestalpine AG. The Cleveland Orchestra Youth Orchestra tour is made possible in part through the generosity of the Vinney family. In 2011, the Jules and Ruth Vinney Cleveland Orchestra Youth Orchestra Touring Fund was established to help cover costs of Youth Orchestra touring and to provide scholarships to eligible Youth Orchestra members. An endowment gift from the Jules and Ruth Vinney Philanthropic Fund, advised by their children Les Vinney, Margo Vinney, and Karen Jacobs, established this Touring Fund, to provide ongoing support toward future Youth Orchestra’s tours. EUROPE TOUR SEND-OFF CONCERT Friday, June 7, 8:00 p.m., Severance Hall Tickets: Free admission, but tickets are required. www.clevelandorchestra.com 216-231-1111
SEVERANCE HALL
Saint Florian Abbey, Austria
Musikverein, Vienna
Reduta Concert Hall, Bratislava
You can help . . . For more information about the Youth Orchestra tour or how to make a contribution to the Student Tour Scholarship Fund, please contact Lauren Generette by calling 216-231-7352 or via email at lgenerette@clevelandorchestra.com.
2019 Europe Tour: June 10-20
25
Opportunities to Perform m T H E C L E V E L A N D O R C H E S T R A believes in the power of music tto ttransform f lilives.
The Orchestra sponsors several ensembles for student singers or instrumentalists looking to pursue their interest in music. Students selected through auditions have the unparalleled opportunity to work closely week in and week out with professional musicians and conductors, who immerse them in the high standards and traditions of artistic excellence of a world-class orchestra. In addition to significant skill-building and beautiful musicmaking — and the academic and developmental benefits that come with rigorous music study — participants forge lifelong friendships and come to regard Severance Hall as their musical home. C L E V E L A N D O R C H E S T R A
Founded in 1986, the Cleveland Orchestra Youth Orchestra provides a unique preprofessional experience for musicians in grades 7-12. Players rehearse weekly and perform in Severance Hall, are directed by a member of The Cleveland Orchestra’s conducting staff, and receive coaching from Cleveland Orchestra musicians. Membership is by competitive auditions held in May. For information, please call the Cleveland Orchestra Youth Orchestra at 216-2317352 or visit www.ClevelandOrchestraYouthOrchestra.com.
Youth Orchestra
C L E V E L A N D O R C H E S T R A
The Cleveland Orchestra Youth Chorus was founded in 1991 to help raise awareness of choral music-making in the schools of Northeast Ohio and to encourage more students to continue their choral activities through college and into adulthood. Members of the Youth Chorus have the opportunity to perform concerts in the greater Cleveland community as well as onstage at Severance Hall alongside their colleagues in the Youth Orchestra. Members of the Youth Chorus are chosen through auditions. For more information, please call the Chorus Office at 216-231-7374 or email chorus@clevelandorchestra.com.
Youth Chorus
C L E V E L A N D O R C H E S T R A The Cleveland Orchestra Children’s Chorus was founded in 1967 and is comprised of Children’s Chorus students in grades 6-9. The group performs regularly with The Cleveland Orchestra and Cleveland Orchestra Chorus. The Children’s Preparatory Chorus is comprised of students in grades 5-8 and collaborates with the Children’s Chorus in two concerts each season. Participation in each ensemble helps students develop their leadership skills through music and works to strengthen their abilities for future musical experiences. For more information, please call the Chorus Office at 216-231-7374 or email chorus@clevelandorchestra.com.
26
Student Performance Ensembles
SEVERANCE HALL
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. Aaron Jacobs, Avon High School David Eddleman, Avon Lake High School Darren Allen, Bay High School Lisa Goldman, Beachwood High School Steven Cocchiola, Brecksville-Broadview Heights High School Valerie Roman and Jay Wardeska, Brunswick High School Michael Kelly, Canfield High School Lara Dudack, Central Christian School Kendra Karriker, Chagrin Falls Middle School & High School Brett Baker, Cleveland Heights High School Dianna Richardson, Cleveland School of the Arts Michael Foster, Copley-Fairlawn High School Dustin Harris, Cuyahoga Falls High School Michelle Adair, Dublin Jerome High School Brian Myers, Eastwood High School David Pope, Elyria High School Hillery Needham, Fairview High School Dustin Wiley, Firelands High School Katherine Ferguson, Firestone CLC David Kilkenney, Gilmour Academy Linda Simon-Mietus, Hathaway Brown School Liesl Langmack, Jodie Ricci, and Jessica Sherwood, Hawken School Greg Rezabek, Howland High School Roberto Iriarte and Beverly O’Connor, Hudson High School Jeff Link, Kenston High School Jared Cooey and Arleen Scott, Lake High School Elizabeth Hankins, Lakewood High School Julie Tabaj, Lakewood Middle School Joel McDaniel, Laurel School Michelle Bagwell, Manchester High School Jason Locher and Shelly Jansen, Medina High School Stephen Poremba and Matthew Yoke, Mentor High School Josh Brunger, Midview High School Audrey Melzer, Oberlin High School William Hughes and Donna Jelen, Shaker Heights High Schools Gerald MacDougall and Mark Mauldin, Solon High School Gregory Newman, Stow Munroe Falls High School Andrew Hire, Strongsville High School Ryan Bonitz and Damon Conn, Twinsburg High School Daniel Singer-Sord, University School David Banks, Walsh Jesuit High School Margaret Karam, Western Reserve Academy Hilary Patriok, Westlake High School
SEVERANCE HALL
Appreciation
27
Dreams can come true
Cleveland Public Theatre’s STEP Education Program Photo by Steve Wagner
... WITH INVESTMENT BY CUYAHOGA ARTS & CULTURE Cuyahoga Arts & Culture (CAC) uses public dollars approved by you to bring arts and culture to every corner of our County. From grade schools to senior centers to large public events and investments to small neighborhood art projects and educational outreach, we are leveraging your investment for everyone to experience.
Your Investment: Strengthening Community Visit cacgrants.org/impact to learn more.
11001 Euclid Avenue, Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM
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, cellular telephones, or wristwatches prior to the start of the concert.
of the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Orchestra since its opening on February 5, 1931. After that first concert, a Cleveland newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a temple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of The Cleveland Orchestra, 1921-1936) and his wife, Elisabeth, donated the funds necessary to erect this magnificent building. Designed by Walker & Weeks, its elegant Georgian exterior was constructed to harmonize with the classical architecture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism. An extensive renovation, restoration, and expansion of the facility was completed in January 2000.
HAILED AS ONE
SEVERANCE HALL
Severance Hall
PHOTOGRAPHY, VIDEOGRAPHY, AND RECORDING Audio recording, photography, and videography are prohibited during performances at Severance Hall. Photographs of the hall and selfies can be taken when the performance is not in progress. As courtesy to others, please turn off any phone/ device that makes noise or emits light. 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 ageappropriate series designed specifically for children and youth, including: Musical Rainbows (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older).
29
Your Role . . . in The Cleveland Orchestra’s Future Generations of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its education programs, celebrated important events with the power of its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, in downtown Cleveland, on the radio, and with family and friends. As Ohio’s most visible international ambassador, The Cleveland Orchestra proudly carries the name of our great city everywhere we go. Here at home, we are committed to serving all of Northeast Ohio with vital education and community programs, presented alongside wide-ranging musical performances. Ticket sales cover less than half the cost of presenting the Orchestra’s season each year. By making a donation, you can make a crucial difference in helping to ensure our work going forward. To make a gift to The Cleveland Orchestra, please visit us online, or call 216-456-8400. SEVERANCE HALL
clevelandorchestra.com
31
Bachelor of Music (BM) Music Composition Music History & Literature Music Performance: Keyboard, Strings, Voice, Brass, Percussion Music Theatre Music Theory Music Therapy
Bachelor of Music Education (BME) Bachelor of Arts (BA)
Arts Management & Entrepreneurship Music: Liberal Arts (Academic or Applied)
BELIEVE IN YOUR NEXT NOTE... WE DO. CONSERVATORY of MUSIC Study with the best. From faculty who are artists and scholars committed to your success.
bw.edu/conservatory Baldwin Wallace University, Berea, Ohio 44017 32
2 018 - 19 S E A S O N
Baldwin Wallace University does not discriminate on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.