Winter Concert February 16, 2025 Autumn Concert November 21, 2025
Autumn Concert
Jack, Joseph and Morton Mandel Concert Hall at Severance Music Center
Friday, November 21, 2025, at 8 PM James Feddeck, conductor
SERGEI PROKOFIEV (1891–1953)
CÉSAR FRANCK (1822–1890)
Excerpts from Romeo and Juliet , Op. 64
Montagues and Capulets Masks
Minuet
Madrigal Scene
Friar Laurence
Romeo at Juliet’s Grave
INTERMISSION
Symphony in D minor
I. Lento — Allegro non troppo
II. Allegretto
III. Allegro non troppo
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 Sunday, December 28, at 4 PM.
EXCERPTS FROM ROMEO AND JULIET , OP. 64
Composed: 1934–35
Duration: about 30 minutes
BY Sergei Prokofiev
BORN
April 23, 1891, in Sontsovka, Ukraine
DIED
March 5, 1953, in Moscow
In 1933, the Kirov Theater in Leningrad wanted a new ballet from Sergei Prokofiev, recognizing the success of his Paris ballets The Steel Step, The Prodigal Son , and On the Dnieper Prokofiev suggested Romeo and Juliet as the new ballet’s storyline. The Kirov was unhappy with the proposal, so Prokofiev signed a contract with Moscow’s Bolshoi Theater, instead. However, the final product was rejected by the Moscow theater, too.
With no immediate prospect of a staged performance, Prokofiev revised the work and made two seven-movement orchestral suites and a 10-movement piano suite from the ballet’s 52 numbers. The ballet was staged for the first time in Brno, Czechoslovakia, in December 1938, and then subsequently danced at the Kirov Theater in January 1940. Despite the challenges surrounding its birth, Prokofiev’s Romeo and Juliet ultimately became a triumph around the world, with great passion and melody carrying its music forward and depicting the dramatic tragedy.
This concert’s selections combine four movements from the first orchestral suite with three movements from the second. “Montagues and the Capulets” captures the swaggering, proud knights and gentler ladies present at the Capulets’ ball, where Romeo first encounters Juliet. “Masks” accompanies the ball, where uninvited guests Romeo, Mercutio, and Benvolio mingle. Driving rhythms fuel this swirling dance of deception. The “Minuet” comes earlier in the ballet, accompanying the arrival of the guests at the Capulets’ ball, and, later in the evening, “Madrigal” accompanies their dancing.
In this combined suite, “Scene” provides a welcome reprieve from the steamy dance hall. “Friar Laurence” is clerical and dignified, represented by bassoon and plucked strings (Prokofiev’s inventive orchestration shows few bounds). The middle section is a passage of glorious writing for the full strings. The presence of “Romeo at Juliet’s Grave” is announced by a theme in the lower strings and woodwinds, and, in despair, Romeo takes poison.
— adapted from a note by Hugh Macdonald 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.
SYMPHONY IN D MINOR
Composed: 1887–88
Duration: about 40 minutes
BY César Franck
BORN
December 10, 1822, in Liège, Belgium
DIED
November 8, 1890, in Paris
César Franck composed his D-minor Symphony — his only mature symphony — at the age of 66, two years before his death. Franck was a famous organist and teacher, with a group of devoted pupils, but the constant infi ghting between musical cliques in Paris made his life difficult.
The most powerful group on the scene were opera composers like Gounod , Thomas , and Massenet . Meanwhile, the two leading instrumental composers, Franck and Saint-Saëns (another virtuoso organist), were trying to compete with opera’s prestige.
Saint-Saëns and Franck were very different personalities. Saint-Saëns was a gifted writer, world traveler, and an incredibly prolific and versatile composer. Franck, 13 years his senior, was not as vivacious, hardly ever left Paris, and wrote more slowly and in fewer genres. For many years, the two were locked in a bitter rivalry, exacerbated by the camps and factions dividing the musical profession.
In 1886, Saint-Saëns completed his Third Symphony (the so-called “Organ” Symphony), which was received warmly the following year. The piece notably uses different variants of the same motive throughout — a technique borrowed from Liszt (who, incidentally, mentored Saint-Saëns and Franck). Franck appreciated the “Organ” Symphony and decided to write a symphony in response to his rival. He composed the work in 1887–88 and had it performed at the Paris Conservatory in February 1889.
Unlike Saint-Saëns, who based his symphony on a single melody, Franck used several different motives. The fi rst consists of three notes and alludes to two earlier compositions: Liszt’s symphonic poem Les préludes and Beethoven’s brooding fi nal string quartet. This motive appears not only in the slow introduction of Franck’s fi rst movement, but also in its tempestuous fast section. Much of the movement is dominated by this dramatic idea, but there is also time for an unforgettable hymn tune.
The second movement combines the conventional middle two movements of a symphony. It opens with gentle pizzicato strings and harp that accompany a beautiful English horn melody. Several variations on this theme follow, some of which sound playful and scherzo-like.
The third movement is jubilant, despite the reintroduction of some darker themes. Shortly before the end, the sweet tune from the second movement becomes a weighty, dramatic statement from the brass and timpani, followed by a dreamlike statement of the fi rst movement’s “brooding” theme. It is soon shrugged off, however, by a confident affi rmation of the jubilant main melody that brings the symphony to a close.
— Peter Laki
Peter Laki is a musicologist and frequent lecturer on classical music. He is a visiting associate professor of music, emeritus, at Bard College and was The Cleveland Orchestra’s program annotator from 1990 to 2007.
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A CONVERSATION WITH JAMES FEDDECK
Principal Conductor & Musical Advisor of The Cleveland Orchestra Youth Orchestra | Sidney and Doris Dworkin Chair
James Feddeck returns as Principal Conductor & Musical Advisor of The Cleveland Orchestra Youth Orchestra after serving on The Cleveland Orchestra’s conducting staff from 2009–13. We sat down with him to catch up and hear about his vision for COYO this season.
TCO: Welcome back to The Cleveland Orchestra! What is it like returning after over a decade?
JAMES: I have guest-conducted the Orchestra a few times in between, but to be back in this capacity is really exciting. When I left my position in 2013, I actually never moved away from Northeast Ohio, although I seldom spent time here. I was always catching planes conducting elsewhere in the world — mostly in Europe, but a lot also in the US. And so I was delighted when the Orchestra asked me to return, because this is a place that was very important to my own musical formation in a lot of ways, through that position and, even before that, coming to concerts while I was a student at Oberlin. It’s a very important tradition and way of thinking about music, and it’s something that’s in my lineage, so it’s wonderful to be back.
As a student at Oberlin, you were not solely focused on conducting. How did you decide to become a conductor?
Well, I come from a completely non-musical family. But my family loved and supported me and my passion for music. I was a pianist, a church organist, an oboist, I played in an orchestra, accompanied, and did chamber music on all these instruments, and I started conducting in high school. So when it came time to go to conservatory, it never occurred to me that I would have to choose one thing. To me, music is music.
Oberlin was the only place that really welcomed me with open arms and said, “We’ll help you figure out how to be the musician you’re supposed to be, if it’s meant to be.” And it was at Oberlin that I started to conduct more and more. I discovered that I love the music, but I actually love the people more. I love the musicians I work with, and the audiences I meet when I conduct all over the world. As a conductor, you can only work with the people that you have and try to inspire the best out of people, and that’s what I aim to do.
Repertoire is a big part of working with and inspiring an ensemble. What was in your mind as you were selecting pieces for this year?
Well, the important thing to me is to build a great orchestra. COYO is a very strong program and a great tradition in and of itself. But when you are responsible for the artistic vision of an orchestra, you have to look at what the orchestra needs and move it forward. So I wanted to find repertoire that was going to build the skills of the orchestra — the rhythm, the tone quality, getting to the heart of pitch and intonation — the things that all musicians, but especially young musicians, have to develop. So looking at repertoire that would form a foundation for the future was really where I came from.
Prokofiev’s Romeo and Juliet on the first concert is such a dramatic story. But musically, it is a great vehicle for the orchestra to strengthen their rhythm and ensemble playing on a very minute level. Requiring that kind of discipline gets an orchestra into very good shape very fast. And then, contrasting that, the Franck symphony is very appropriate for the orchestra to build a sense of sound and pitch. There’s so much layering of everybody playing the same melody at the same time, that it gives the orchestra a chance to not just ask, “Are we together?” but, “How are we together?” As well as being important pieces in the repertoire, it has been a very important way to start the season from a pedagogical standpoint.
JAMES FEDDECK STRIKES A SILLY POSE WITH MEMBERS OF COYO IN 2012. | PHOTO ROGER MASTROIANNI
Is there a particular piece this season you’re most looking forward to?
Oh, that’s so hard, because every piece is like a wonderfully wrapped present that we’ve inherited from those who’ve gone before us. If I had to choose one though, it would be Copland’s Letter from Home on the last concert [May 10, 2026]. I really have come to love that piece, and I thought it would pair well with Dvořák ’s “New World” Symphony, especially as we approach the 250th anniversary of the US. The Copland is such a beautifully simple piece, and so sincere and heartfelt in its spirit. I’m really looking forward to it.
Any final thoughts to share with students and families?
Music is something that should be part of everyone’s life. I truly believe that, and I think the skills one learns in a music program that is solely about excellence develop a young person in ways that not many other things will.
I’ve encountered my COYO students from 2009–13 playing in major orchestras I’ve guest conducted around the world, from New Zealand to London to Chicago. Former students always come backstage to see me, too. I remember in Chicago after one of my last concerts there, we had about 50 COYO alums who burst backstage, and I was so happy to see them again. They’re incredibly successful in law, science, medicine, engineering — they are the top achievers. And I think that’s in part because of the discipline and attention to detail that’s required to be in a serious music program like this.
When I think about my own family, it might have been hard for them to understand certain things about what I was doing, but they sought out meaningful opportunities to allow me to develop to my full potential. So I try to look at every student here in this program to develop what resonates for them. For some, that’s the music itself. For others, music is a vehicle that enables other growth and inspiration.
Cleveland Orchestra musician Hans Clebsch coaches COYO horn students in Reinberger Chamber Hall.
Holiday Concerts
WITH THE CLEVELAND ORCHESTRA AND CHORUS
DECEMBER 13 & 14, 17– 21
Heartwarming concerts for the whole family.
Celebrate the holidays with these annual offerings of music for the season, including traditional favorite tunes, sing-alongs, and a very special guest — all in the festive yuletide splendor of Severance.
The Cleveland Orchestra
Sarah Hicks , conductor
Meredith Wohlgemuth, vocals
The Cleveland Orchestra Chorus
Blossom Festival Chorus
The Cleveland Orchestra Youth Chorus Chamber Ensemble
The Cleveland Orchestra Children’s Chorus
Cleveland State University Chorus
College of Wooster Chorus
DEC 4 l THU 7:30 PM
DEC 5 l FRI 7:30 PM
DEC 6 l SAT 7:30 PM
Glenn Miller Orchestra: In the Christmas Mood*
DEC 1 l MON 7 PM
DEC 9 l TUE 7:30 PM
DEC 10 l WED 7:30 PM Holiday Special Voctave*
DEC 11 l THU 7:30 PM Holiday Brass Quintet
DEC 12 l FRI 11 AM
DEC 13 l SAT 11 AM
*Please note: The Cleveland Orchestra does not appear on this program.
HICKS
FIRST VIOLINS
Harris Wang
CONCERTMASTER
Solon High School
Cyprus Foster
ASSISTANT CONCERTMASTER
Homeschooled
Andrew Heinzen
Cleveland Heights High School
Aika Birch
Jackson High School
Marina Han
Solon High School
Aaron Wei
Solon High School
Cole Krajewski
Twinsburg High School
Peter Dzero
Western Reserve Academy
Maria Shrefler
Padua Franciscan High School
Julia Astorga
Homeschooled
Siyoon Kim
Jackson Memorial Middle School
Roan Westerbeke
Hawken School
Yi-Chuan Li
Hudson Middle School
Sophia Jiang
Solon Middle School
Jerry Du
Hudson High School
Arthur Zhao
Avon High School
SECOND VIOLINS
Lydia Andres
PRINCIPAL
Homeschooled
Mason Zhang
ASSISTANT PRINCIPAL
Shaker Heights High School
Sujin Kim
Menlo Park Academy
YOUTH ORCHESTRA
Chengyu Jiang
Solon High School
Alex Jin
Aurora High School
Jason Fan
Rocky River High School
Alexandria Zhang
Hawken School
Cinyi Zhang
Ballard Brady Middle School
Claire Huang
Solon High School
Christopher Wei
Solon High School
Esther Hayashi
Hudson High School
James Zeng
St. Edward High School
Abby Hahnenberg
Shaker Heights High School
Cailyn Hua
Western Reserve Academy
Brayden Qi
Hawken School
VIOLAS
Jason Yi-Kun Zhao
PRINCIPAL
University School
Elizabeth Pineda
ASSISTANT PRINCIPAL
Hawken School
Jonah Paponetti
Shaker Heights High School
Gabi Levy
Oberlin High School
Lydia Huff
Oberlin High School
Min Garcia
Cleveland School of the Arts
Nicholas Pokalev
Twinsburg High School
Kaustubh Devarakonda
Strongsville High School
Seohyun Kwon
Beachwood High School
Preston Duncan
Aurora High School
Claire Wilburn
Lake Ridge Academy
CELLOS
Nicholas Jacques PRINCIPAL
Hawken School
Oliver Krishnaney
ASSISTANT PRINCIPAL
University School
Jack Neely
Hawken School
Michael Zhu
University School
Kaiden Honaker
Twinsburg High School
Cate Dzero
Western Reserve Academy
Rhys Scott University School
Dylan Hansen
Cleveland Heights High School
Caroline Jang
Orange High School
Eldon Foster
Homeschooled
Julia Zollinger
Hoover High School
Seraphina Huang
Hawken School
Lilly Paponetti
Shaker Heights High School
Wesley Lewis
Shaker Heights High School
BASSES
Travis Phillips PRINCIPAL
University School
Sullivan Wiggins
ASSISTANT PRINCIPAL
Shaker Heights High School
Abigail Kovach
Lakewood High School
Andrew Kunselman
Strongsville High School
Kate Davis
Firestone Community
Learning Center
Robert Mosack
Strongsville High School
Violet Yeh
Shaker Heights High School
Luke Heiland
Highland Middle School
FLUTES
Cole Flores
Baldwin Wallace University
Malkyiah Grant P
Columbiana High School
Zachary Moskowitz
Shaker Heights High School
Aryaman Sigdel F Twinsburg High School
PICCOLO
Cole Flores P
OBOES
Eliana Fittante
Ontario High School
Andrew Kelly F Bay High School
Emily Petrella P
Hudson High School
Christopher Wang
Solon High School
ENGLISH HORNS
Andrew Kelly P
Emily Petrella F
CLARINETS
Nicholas Garrett
Cleveland School of the Arts
Willa Kenny P
Saint Joseph Academy
Evan Lee
Hudson High School
Sawyer Sulzener F
Highland High School
BASS CLARINETS
Nicholas Garrett P
Willa Kenny F
BASSOONS
Anton Bekeny
Bay Middle School
Alessio Matera F
Lakewood High School
Angie Stump P
Copley High School
Preston Thigpen
Howland High School
CONTRABASSOON
Preston Thigpen P
HORNS
Jack Berendt P
Aurora High School
Keegan Evans
Columbia High School
EJ Thomas F
Oberlin High School
Issac O’Brien **
TRUMPETS
Alex Alafi
Mentor High School
Dominic Morataya
Howland High School
Owen Rinaldo F
Stow-Munroe Falls High School
Connor Yorke P
Wadsworth High School
TROMBONES
Grace Berendt P, F
Aurora High School
Lucas Marques
Westlake High School
Brennon Mitchell
Canfield High School
TUBA
Cameron Fullen
Galion 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 F
Solon High School
Kelsey Rogers P
Shaker Heights High School
PERCUSSION
Matthew Arnold
Orange High School
Nathaniel Pino
Solon High School
Justin Reimschisel
Solon High School
Kelsey Rogers
Shaker Heights High School
HARP
Elizabeth Gao P, F
Solon High School
PIANO
Saya Uejima P
Green High School
MANAGER
Kennedy McKain
LIBRARIAN
Joshua Arkangel
Performers are listed alphabetically within each woodwind, brass, and percussion section. Superscripts indicate principal player according to the following key:
P Prokofiev
F Franck
** 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
JAMES FEDDECK
Principal Conductor & Musical Advisor of The Cleveland Orchestra Youth Orchestra | Sidney and Doris Dworkin Chair
James Feddeck is Principal Conductor & Musical Advisor of The Cleveland Orchestra Youth Orchestra for the 2025–26 season.
A conductor of international acclaim, Feddeck inspires audiences with a presence felt across the world’s finest stages. In North America, he has conducted major symphony orchestras including Chicago, Cleveland, Montreal, San Francisco, and Toronto. His performances with leading European orchestras include the Vienna Radio Symphony, the national orchestras of France, Belgium, Ireland, and Scotland, and major UK orchestras. In addition, he regularly performs throughout Asia, Australia, and New Zealand.
For the last five seasons, Feddeck served as principal director of the Orchestra I Pomeriggi Musicali in Milan, Italy, leading operatic productions and concert performances.
He has collaborated with many of the world’s foremost soloists, including PierreLaurent Aimard , Marc-André Hamelin , Yo-Yo Ma , Midori , and Lise de la Salle. His recorded discography includes works by Georg Schumann for CPO with the Deutsche Symphonie-Orchester Berlin (2017), as well as the music of Terry Riley and Dane Rudhyar with The Cleveland Orchestra and Calder Quartet (2022).
Feddeck was previously appointed to The Cleveland Orchestra’s conducting staff in 2009, during which he also served as Music Director of The Cleveland Orchestra Youth Orchestra and led their first European tour.
He is a graduate of the Oberlin Conservatory of Music, where he received the Outstanding Alumni Award, and the Aspen Music Festival and School, which awarded him the Robert Harth and Aspen prizes. He was also the winner of the prestigious Solti Conducting Fellowship and the sixth Vakhtang Jordania International Conducting Competition.
ABOUT THE CLEVELAND ORCHESTRA YOUTH ORCHESTRA
The Cleveland Orchestra Youth Orchestra is a full symphonic ensemble composed of 98 young musicians drawn from 39 communities in 12 counties across Northern Ohio. Founded in 1986 by Jahja Ling (then resident conductor of The Cleveland Orchestra), The Cleveland Orchestra Youth Orchestra (COYO) provides serious young music students of middle and high school age with a unique pre-professional orchestral training experience. The 2025–26 season marks COYO’s 39th performing season and the return of conductor James Feddeck , who previously led the ensemble from 2009–13.
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, Music Mentors, and Bassoon Farm 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.
Learn from renowned instructors and take master classes with world-famous musicians. Surround yourself with the beauty and inspiration of two lakes and 1,200 acres of pine forest. Celebrate the connections between art forms through breathtaking interdisciplinary performances. And take part in a time-honored legacy that leads to top colleges, renowned conservatories, and placement in the world’s best orchestras. Where else can you do all these things? THERE’S ONLY ONE INTERLOCHEN.
YOUTH ORCHESTRA COACHING STAFF
The following musicians have served as section coaches for The Cleveland Orchestra Youth Orchestra in preparation for this concert. Regular coaching staff appear first in each section, followed by their substitutes.
VIOLINS
Stephen Tavani Assistant Concertmaster
Kathleen Collins
Elayna Duitman
Isabel Trautwein
VIOLAS
Stanley Konopka Assistant Principal
Bethany Hargreaves § ^
CELLOS
David Alan Harrell
Martha Baldwin
Khari Joyner §
Mark Kosower Principal
BASSES
Mark Atherton Scott Haigh *
FLUTES
Heidi Kushious §
Kimberley Zaleski §
OBOE
Frank Rosenwein Principal
CLARINETS
Robert Woolfrey
Afendi Yusuf Principal Amy Zoloto
BASSOONS
Phil Austin *
Jonathan Sherwin
HORNS
Meghan Guegold Hege^
Alan DeMattia *
TRUMPETS
Michael Miller
Jack Sutte
TROMBONE
Shachar Israel Assistant Principal
TUBA
Yasuhito Sugiyama Principal
PERCUSSION
Tanner Tanyeri
Feza Zweifel §
HARP
Trina Struble Principal
PIANO/CELESTA
Alicja Basinska §
WITH SPECIAL THANKS
Michael Ferraguto Principal Librarian
Donald Miller Copyist and Librarian
All coaches are current members of The Cleveland Orchestra unless otherwise noted.
* Emeritus member of The Cleveland Orchestra
§ Regular substitute with The Cleveland Orchestra
^ Alum of COYO
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
Brendan Caldwell
Baldwin Wallace University
Rebecca Ellsworth
Ballard Brady Middle School
Devon Gess
Bay High School
Mark Awad
Bay Middle School
David Luddington
Beachwood High School
Anthony Bonamase
Canfield High School
Daniel Heim
Cleveland Heights High School
Robert Davis
Cleveland School of the Arts
Dianna Richardson
Cleveland School of the Arts
Jessie Shrenkel
Columbia High School
Charles Miller
Columbiana High School
Michael Foster
Copley High School
Sloan Stakleff
Firestone Community
Learning Center
Theresa O’Deens
Galion High School
Amy Rach
Green High School
Kyra Mihalski
Hawken School
Edward Marquette
Highland High School
Laura Joss
Highland Middle School
Ronald Varn
Hoover High School
Gregory Rezabek
Howland High School
Roberto Iriarte
Hudson High School
John Rodesh
Hudson High School
Scott Eversdyke
Jackson High School
Joseph Carlson
Jackson Memorial Middle School
Mary Price
Lake Ridge Academy
Elizabeth Hankins
Lakewood High School
Clinton Steinbrunner
Lakewood High School
Adonai Henderson
Menlo Park Academy
Steve Porema
Mentor High School
Emily Cromwell
Oberlin High School
Ryan Jaeckin
Oberlin High School
Grace Reven
Ontario High School
Brandon DuVall
Orange High School
Rebecca Ellsworth
Orange High School
Mark Wozniak
Padua Franciscan High School
Brian Patton
Saint Joseph Academy
Bill Hughes
Shaker Heights High School
Donna Jelen
Shaker Heights High School
Mark Mauldin
Solon High School
Gerald MacDougall
Solon Middle & High School
Robert Luce
Solon Middle School
David Michaels
St. Edward High School
Andrew Hire
Strongsville High School
Ryan Bonitz
Twinsburg High School
Damon Conn
Twinsburg High School
Abigail Dudzik
University School
Devon Steve
University School
Dana Hire
Wadsworth 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
Sibbi Bernhardsson
Heather Crawford
Vladimir Deninzon**
Francesca DePasquale
Amos Fayette
Wei-Fang Gu*
Liesl Hook
Amy Lee*
Ruoyao Li
Kimberly Meier-Sims
Ioana Missits*
Marlene Moses
Eugenia Poustyreva
Corrie Ann Riberdy
Barton Samuel Rotberg
Stephen Sims
Cory Smith
Beth Woodside*
Yu Yuan*
VIOLA TEACHERS
Jeffrey Irvine
Laura Kuennan-Poper
Teng Li
Micaela Murphy
Mary Price
James Rhodes
Carol Ross
Laura Schuster
Luke Wardell
Louise Zeitlin
CELLO TEACHERS
Martha Baldwin*
Rachel Bernstein
Abbey Hansen
David Alan Harrell*
Pamela Kelly
Melisa Kraut
Rabecca Landell
Hannah Lintz
Ida Mercer
Daniel Pereira
BASS TEACHERS
Steven Brija
Blake Kniola
Tracy Rowell
Susan Yelanjian
FLUTE TEACHERS
Stephanie Carter Dennis
Kaleb Chesnic
Linda Miller
Thomas Miller
OBOE TEACHERS
Carol Bernhardt
Stephanie Cohn
Jack Harek
Corbin Stair*
CLARINET TEACHERS
Meghan Colbert
Kerri Davis
Stanislav Golovin
Sally Kish
BASSOON TEACHERS
Lydia Byndas
Mark DeMio
Zach Elmore
Shawn Renolds
HORN TEACHERS
Jason Bernhardt
Van Parker
TRUMPET TEACHERS
Amanda Alafi
James Johnson
Jerry Kleman
Ken Young
TROMBONE TEACHERS
Ty Deane
Andrew Mitchell
Eric Richmond
TUBA TEACHER
Brian Griffin
PERCUSSION TEACHERS
Thomas Freer**
Katalin La Favre
Matthew Larson
Jennalee Quillen
HARP TEACHER
Jody Guinn
KEYBOARD TEACHER
Haewon Song
* Member of The Cleveland Orchestra
** Emeritus member of The Cleveland Orchestra
LATE SEATING
As a courtesy to audience members and musicians, late-arriving patrons are asked to wait quietly until the fi rst convenient break in the program. These seating breaks are at the discretion of the House Manager in consultation with the performing artists.
CELL PHONES, WATCHES & OTHER DEVICES
To ensure a quiet and respectful listening environment, please silence all electronic devices.
PHOTOGRAPHY, VIDEOGRAPHY & RECORDING
Audio recording, photography, and videography are not allowed during performances at Severance. Photographs can only be taken when the performance is not in progress.
THE CLEVELAND ORCHESTRA APP
Explore upcoming concerts, purchase and access your tickets, receive performance updates, and more. Available for iOS and Android on Google Play and at the Apple App Store. More information is at clevelandorchestra.com/tcoapp
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
In consideration of others, please reduce the volume on hearing aids and other healthassistive devices that may produce noise. For Infrared Assistive-Listening Devices, please see an usher. To request one in advance, email info@clevelandorchestra.com.
AGE GUIDELINES
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 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 © 2025 by The Cleveland Orchestra and Musical Arts Association
Editorial: Kevin McBrien, Publications Manager (kmcbrien@clevelandorchestra.com)
Ellen Sauer Tanyeri, Archives & Editorial Assistant
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.
