TABLE OF CONTENTS
Violins of Hope, Grades 6-8 & 9-12. . . . 2
A Matter of Time, Grades 3-5 . . . . . . . . .3
See the Sounds. . . . . . . . . . . . . . . . . . . . 4
Conductor of the Orchestra. . . . . . . . . . 5
Fun & Games. . . . . . . . . . . . . . . . . . . . . . . 6
Fan Mail. . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Youth Orchestra. . . . . . . . . . . . . . . . . . . . 8
Children’s Chorus. . . . . . . . . . . . . . . . . . . 8
Youth Chorus. . . . . . . . . . . . . . . . . . . . . . .8
Family Concerts. . . . . . . . . . . . . . . . . . . . 8
2015-16 Season Guide for Young Concert-goers
Photo by Ziv Shenhav
VIOLINS of hope
Photo by Roger Mastroianni
A remarkable collection of
instruments that survived
the Holocaust has come
to Cleveland. Witnesses to
history, these instruments
give voice to those who
perished, and remind us
never to forget.
THE CLEVELAND ORCHESTRA is among
more than a half-dozen organizations from
across Northeast Ohio who joined together
this fall to present a series of exhibitions,
education programs, workshops, and musical
performances, including the December
Education Concerts in Severance Hall that
many of you will attend, centered around
the stories of the Violins of Hope. These
instruments, played by Jewish musicians
before and during the Holocaust, are
testaments to humanity’s ability to persevere,
even in the face of unimaginable evil.
Soon after Hitler and his Nazi party took over
Germany in 1933, they began to isolate and
then systematically eliminate Jews and other
“racial enemies.” When Jews were removed
from their homes and sent to ghettos and
death camps, their violins came too. In some
cases, the ability to play the violin in service
to their Nazi captors spared Jewish musicians
from more grueling labor or even death. For
The Cleveland Orchestra with Amnon Weinstein
and the Violins of Hope, September 27, 2015.
some, the violin was a lifeline,
a critical link to food and
other supplies. For others, it
was an escape mechanism.
Through music, prisoners
enjoyed a moment’s relief
from constant terror and
misery. Music offered haven
and a vital reminder that
even the most brutal regime
could not rob them of their
faith, or hope.
One day, a customer
brought a violin in for restoration to master
violin maker Amnon Weinstein’s workshop
in Israel. The customer had survived the
Holocaust because his job was to play the
violin while Nazi soldiers marched prisoners
to their deaths. Overwhelmed by this moving
story and recognizing that there had to be
many more stories (and instruments) like it,
Mr. Weinstein put out a call in 1996 for violins
from the Holocaust that he pledged to restore
to honor the memories of those who died in
concentration camps.
Mr. Weinstein has restored more than 50
neglected and damaged Holocaust-era violins
and brought these inspirational instruments
“Wherever there were violins,
there was hope.”
Amnon Weinstein, Violins of Hope founder and creator
back to life. Some include the Star
of David on the back; others have
names and dates inscribed within
the instrument. Each instrument
carries its own story and makes its
own distinct sound in the hands of
premier musicians around the world.
The violins were played by the Berlin
Philharmonic earlier this year, and,
most recently, on September 27, 2015,
by The Cleveland Orchestra led by
music director Franz Welser-Möst.. The
concert marked the launch of three
months of Violins of Hope programs
and events, and also marked the dedication
of the newly-renovated Silver Hall, part of
Case Western Reserve University’s Milton and
Tamar Maltz Performing Arts Center at The
Temple-Tifereth Israel.
Some of the Violins of Hope instruments will
also be played on our December Cleveland
Orchestra Education Concerts. Many more
of them are featured in a major exhibition
at the Maltz Museum of Jewish Heritage in
Beachwood, running through January 3, 2016.
Many middle and high schools around the
region are studying the Facing History and
Ourselves Holocaust curriculum and exploring
the many resources available (websites, books,
movies, lectures, exhibits) to learn more about
this important period in history whose many
lessons are especially relevant today as people
around the world continue to face persecution.
For more details about the Violins of Hope
project and associated activities and resources
please visit the website violinsofhopecle.org.
Cleveland Orchestra Education Concerts for Grades 6-12
VIOLINS of hope
December 1-4, 2015
The Cleveland Orchestra • Brett Mitchell, conductor
FINZIPrelude
PROKOFIEV
Overture on Hebrew Themes
SHOSTAKOVICH “Allegro molto” from Chamber Symphony for String Orchestra
Main Theme from Schindler’s List
WILLIAMS
“Simchas Torah” (“Rejoicing”) from Baal Shem
BLOCH
BRUCH
Kol Nidrei
ROSSINI
Overture from La scala di seta (“The Silken Ladder”)
You can break bodies. You can extinguish voices. You can even crush souls, temporarily. You cannot,
however, silence music. Not with gas chambers. Not with firing squads. Not by means of starvation.
Music always survives.
On these Education Concerts, music and drama
will combine to give us a powerful new lens
through which to view the important role of
music in Jewish life before, during and after the
Holocaust. The violin was deeply embedded in
Jewish culture for centuries before World War
II, but during the Holocaust (i.e., the systematic
persecution and murder of six million Jews by
the Nazis) the violin played an extraordinary role
in fostering Jewish survival and hope. For some
Jews, the instrument was a liberator; for others, it
was a savior that spared their lives. For many, the
violin provided comfort during one of the darkest
periods in history. The music on this concert was
selected to convey the themes of Jewish spirit,
resistance, resilience…and hope.
Prelude by Finzi
Gerald Finzi’s music embraces a rich variety of
moods – from sad and melancholic, to thoughtful
and reflective, to joyous and hopeful. In his piece
Prelude, Finzi uses only the strings of the orchestra
to create a moving, musical “soundscape,” which,
along with projected images, will
set the stage for our Violins of
Hope Education Concert. Gerald
Finzi was born in 1901 in London, England to parents of Jewish descent, although he himself
was agnostic (one who neither
believes nor disbelieves in the
existence of God). Finzi’s music
reflects a distinctly English style,
inspired by folk songs and English composers who
preceded him.
Overture on Hebrew Themes
by Prokofiev
In Jewish culture (as in many cultures) music marks
both happy and sad occasions, unites people in
prayer, provides entertainment, and, for an unusually large number of Jews in pre-World War II Europe, provided a professional career. (Jews were
disproportionately represented in professional orchestras relative to their numbers in the general
population.) In his Overture on Hebrew Themes,
Sergei Prokofiev illustrates the spirit of Jewish
music in history which is sometimes described as
sounding happy yet tragic. He uses two melodies,
based loosely on Jewish folksongs, one more celebratory and dance-like, played primarily by the
clarinet, and evocative of traditional Jewish klezmer
music; the other melody, more
reverent, sustained, and with a
singing quality, is introduced by
the strings and horns. Sergei
Prokofiev was a Russian composer born in 1891. He wrote his
first piece of music at the age of
five, composed his first opera at
age nine and entered the St. Petersburg Conservatory at age 13
where he studied with the famous Russian composer Nikolai Rimsky-Korsakov. Prokofiev spent
twenty years traveling in America and western Europe as a pianist and conductor of his own music.
After returning to Russia in 1936, he composed one
of his most famous pieces Peter and the Wolf in
response to the Soviet demand for high-quality
children’s music.
“Simchas Torah” (“Rejoicing”)
from Baal Shem by Bloch
Ernest Bloch was a composer of
Jewish ancestry, born in 1880 in
Geneva, Switzerland. Bloch spent
much of his early career traveling
throughout Europe playing the
violin, conducting, composing, and
more. During this time, Bloch took
many trips to America where he
became a respected composer and
teacher, and founded the Cleveland Institute of Music
(just around the corner from Severance Hall!). In 1924,
while living in Cleveland, Bloch earned his American citizenship. It was after this time that he began
to express his Jewish heritage more explicitly in his
music, and composed Baal Shem in a distinctive Hebrew style. “Simchas Torah” (“Rejoicing”), from Baal
Shem, is a prayer read during a Jewish holiday that
marks the end of the reading cycle of the Torah, or
Jewish scripture, and the beginning of a new one. The
rhythm, pitch, dynamics, tempo, instrumentation and
overall feel of the music sound bright and celebratory,
representative of resilience and new beginnings.
Kol Nidrei by Bruch
The Cleveland Orchestra will be joined on these Education
Concerts by actors from the Case Western Reserve University/
Cleveland Play House Masters in Fine Arts program.
“Allegro molto” from Chamber
Symphony for String Orchestra
by Shostakovich
Despite the humiliating and inhumane conditions the Jews
were subjected to in ghettos, labor camps and death camps,
they resisted their Nazi captors in various ways – both
through armed resistance (with weapons), unarmed resistance (defiance, illegal food smuggling etc.) and spiritual resistance (maintaining their dignity and humanity in the face
of Nazi efforts to degrade them). They would not let their
spirit be broken.
Dmitri Shostakovich was no stranger to
the themes of resistance and protest. He
was born and raised in Russia in 1906 and
spent his entire career in the Soviet system, which significantly influenced his
musical compositions. His style, both traditional and experimental, reflected his
need to write music that expressed his innermost feelings of resistance and protest
against political injustice without drawing
too much attention to his unpatriotic message. In his Chamber Symphony, Shostakovich truly embodies the theme of
resistance, and dedicates it “to the memory of the victims
of fascism and war.” The intensity with which the strings are
played suggests a passionate protest, directed at some of the
same individuals who played a key role in the history of the
Holocaust.
Schindler’s List by Williams
The movie Schindler’s List tells the true story of Oskar
Schindler, a German entrepreneur (and Nazi party member
because it was ‘good for business’) who hired many Jewish
workers for his factories. When the Nazi SS began exterminating Jews in the Krakow ghetto, Schindler arranged to have
his workers protected to keep his factory in operation, but
soon realized that in so doing, he was also saving many innocent lives. This piece from the movie soundtrack features a
haunting melody played by solo violin written in the style of
Jewish folk music, as well as several other solo parts, possibly
meant to represent the individual lives of those who were
rescued by Oskar Schindler. Composer John Williams was
born in 1932 in New York City. He learned
to play several instruments as a child,
including piano, and later studied composition at the Julliard School of Music in New York. He has written music for more than 75 movies, including
Jurassic Park, Raiders of the Lost Ark, E.T.,
Home Alone, Hook, Harry Potter and Star
Wars.
2
Kol Nidrei, meaning “All Vows” in Aramaic, is a prayer
chanted at the beginning of the evening service of
Yom Kippur (The Day of Atonement), the most solemn of the Jewish High Holy Days. Each year on Yom
Kippur, Jews especially remember those who have
passed on. Max Bruch’s music, Kol Nidrei, was derived
from a Hebrew melody that he acquired from a Jewish
choir member while conducting in Berlin, Germany.
Interestingly, the popularity of Kol Nidrei led to the
wrongful assumption that Bruch himself was Jewish, but he was not. The piece alternates between a
simple melody, played by solo cello and representative of the reflective spirit of the Yom Kippur holiday, and orchestral passages that support the main
melody. The opening notes of the
cello solo represent the cantor’s
sighs on this somber day. Max
Bruch was a German composer
and conductor born in 1838 who
wrote over 200 works, but was
most well known for his first violin
concerto (a concerto is a piece for
a solo instrument accompanied by
orchestra).
Overture to La scala di seta
(“The Silken Ladder”) by Rossini
Polish violinist Bronislaw Huberman was one of the
most celebrated violinists of his time. But even more
important than his virtuosic music making was the
political foresight and bravery he displayed during
the Nazis’ rise to power. As the situation for Jews
began to deteriorate steadily in Europe, Huberman
used his reputation to recruit the ‘best of the best’
Jewish orchestral players from Nazi Germany, Austria, Poland and Hungary, to regroup in Palestine as
a new ensemble, the Palestine Symphony Orchestra.
Later renamed the Israel Philharmonic Orchestra, the
ensemble is world-renowned today and a testament
to the Jewish spirit of resilience and hope. The piece
you will hear, the Overture to La scala di seta (“The
Silken Ladder”) was featured on the first concert of
the Palestine Symphony Orchestra in 1936, led by
the famous conductor Arturo Toscanini. If it hadn’t
been for Huberman, dozens of musicians and their
families — nearly 1000 people in all — would certainly
have died. Along with literally saving lives, Huberman
found a way to preserve and perpetuate an enormous
legacy of European Jewish musical tradition. The Italian composer
Gioachino (Jo-KEEN-o) Rossini,
born in 1792 in Pesaro, Italy, the
son of a trumpeter and opera
singer, composed the overture
with a lyric introduction featuring
several solos in the woodwinds
and French horn, followed by vibrant music that is bouncy, quick,
and light, ending this musical exploration of the Holocaust on a positive note.
Cleveland Orchestra Education Concerts for Grades 3-5
A Matter of Time:
What Makes
Music is all a matter of time. Composers organize time in specific ways to
create and shape a piece of music. Time
determines how long a piece of music lasts. But
there’s more to it: the way we feel music depends greatly on tempo, meter, and rhythm. In
this Cleveland Orchestra concert, we’ll explore
the many ways these compositional tools work
together to make music “tick.”
John Corigliano
(b. 1938)
TARANTELLA from
Gazebo Dances
A tarantella is a folk dance from
southern Italy, used by many
composers in classical music.
Legend has it that a certain kind of wolf spider
(what we call a tarantula) had a bite so poisonous that it made people feel crazy, and they would
dance around wildly. This exciting dance has a galloping sound, and its signature instrument is the
tambourine. The tarantella you’ll hear is not from
Italy, but written by the American composer John
Corigliano. He imagined the sound of a small town
band in New England, playing outdoors in a park on
a summer night. This fast-paced piece will get your
toes tapping and your pulse racing!
Arthur Honegger
(1892-1955)
PACIFIC 231
Arthur Honegger, a French
composer, wrote Pacific 231 to
describe a certain kind of locomotive that carried heavy loads
at high speeds. This musical
train starts with the high-pitched
shriek of the wheels on the rails, contrasting with
the low “chugga chug” of the engine building
steam. What instruments do you think could make
these sounds in the orchestra? Like a train building
momentum, the tempo starts slow and gets faster.
But not all of the increase in speed comes from the
conductor. Honegger added more and more notes
to the music throughout the piece, making it sound
like the music gets faster, even though the tempo
stays the same.
Ludwig Van
Beethoven
(1770-1827)
ALLEGRETTO
SCHERZANDO from
Symphony No. 8
A metronome is a device that
keeps a steady beat with a
ticking sound, like seconds on a clock. You can
adjust the speed for different numbers of beats per
minute. Musicians use them to practice playing in
tempo. While most metronomes are digital now
(many musicians use an app on their phone), the
original metronome had a swinging pendulum that
moved back and forth. The first metronomes were
manufactured when Ludwig Van Beethoven was
alive, and these miniature musical machines fascinated him. The Allegretto Scherzando movement
from his eighth symphony is a tribute to their nonstop tick-tock. You’ll hear the mechanical sound of
the metronome in the strings, which sets up the
music for surprising bursts of energy from the other
instruments.
Music
Tick?
John Philip Sousa
(1854-1932)
THE STARS AND STRIPES
FOREVER
Chances are likely that you’ve
heard this popular march at a
parade or Fourth of July celebration. Since marches were written for bands to play
while stepping in line with their feet, you can hear a
“left-right-left-right” feel in the music. This is called
duple meter, or music “in two.” American composer
John Philip Sousa was known as “The March King.”
He wrote 136 different marches, but The Stars and
Stripes Forever is played more than any other. Along
with the distinctive sound of the march tempo, you’ll
hear other musical characteristics that mark the style
of Sousa: snare drum rolls and crashing cymbals,
stately trumpets, an “oom-pah” accompaniment in
the low instruments, and a flittering, trilling piccolo
(the smallest, highest woodwind instrument).
Johann Strauss Jr.
(1825-1899)
ON THE BEAUTIFUL
BLUE DANUBE
WALTZES
While America had “The March
King,” Austria had “The Waltz King”
– Johann Strauss, Jr. A waltz is a
dance in triple meter, or music “in three.” It can be
slow or fast, but you can always count “ONE two
three, ONE two three” along with the beat. Strauss
wrote his waltzes for people to dance, but they are
usually played in concerts now. They often have several different melodies, or tunes, one flowing into
the next one like a medley of songs. On the Beautiful
Blue Danube is a set of waltzes about one of Strauss’s
favorite places: the Danube River. The Danube is the
second longest river in Europe and flows through ten
countries, including Austria. Strauss’ hometown of
Vienna is right on the river, and his waltzes have become a “second national anthem” to the people that
live there now.
Piotr Ilyich
Tchaikovsky
(1840-1893)
ALLEGRO CON GRAZIA
from Symphony No. 6
(“Pathétique”)
Most music you’ll hear an orchestra play will have a duple or triple
meter, like a march or a waltz. But music can get
really interesting when it’s “in five,” like this movement from Tchaikovsky’s Symphony no. 6.
The Symphony no. 6 was the last piece of music that
Tchaikovsky composed. While the title “pathétique”
means “sad,” this part is light and cheerful. It has the
dance-like quality of a waltz, but feels just a little
off-kilter. Imagine walking through a beautiful place,
trying to keep a steady pace, but getting so distracted by everything you see around you that you lose
your step every once in a while.
Igor Stravinsky
(1882-1971)
GLORIFICATION OF
THE CHOSEN ONE
from The Rite of Spring
What if a composer took sections
of music in all different meters
3
February 23-25, 2016
The Cleveland Orchestra
Brett Mitchell, conductor
CORIGLIANO Tarantella from Gazebo Dances
HONEGGER Pacific 231
BEETHOVEN Second Movement: “Allegretto scherzando”
from Symphony No. 8
SOUSA The Stars and Stripes Forever
STRAUSS Selection from On the Beautiful Blue Danube Waltzes
TCHAIKOVSKY Selection from Second Movement (“Allegro con grazia”) of Symphony No. 6
(“Pathetique”)
STRAVINSKY “Glorification of the Chosen One” from The Rite of Spring
BIZET
Habanera from Carmen
MÁRQUEZ Danzón No. 2
– duple, triple, in five, in seven – and mixed them
together? You’d get something that sounds unsteady
and a bit confusing, but also very exciting. Russian
composer Igor Stravinsky was known for writing
music where the meter constantly changed. The Rite
of Spring tells the story of a group of ancient people
celebrating a ritual for the coming of spring, with lots
of ceremonial dancing. The dancers found it very difficult to dance to Stravinsky’s music because it was
so hard to count the changing beats!
Georges Bizet
(1838-1875)
HABANERA from
Carmen
Georges Bizet was from France,
but his opera Carmen tells a story
that takes place in Spain, with
characters like fortune-tellers and
bullfighters. For this piece, he chose the rhythm of a
dance that actually comes from Cuba, the habanera,
which is slow and similar to a tango. In this habanera,
not only do the tempo and meter remain steady, but
you’ll hear a constant pattern in the bass line, played
over and over. The melody follows along, but it’s this
rhythm that keeps the music going and gives it a
Spanish flair.
Arturo Marquez
(b. 1950)
DANZÓN No. 2
The Mexican danzón is a style of
dance music that uses rhythms
similar to the habanera. Arturo
Márquez travelled all over Mexico
with a painter and a dancer to
study this traditional music, eventually writing his own version of a danzón for a full
orchestra. The music switches back and forth between a slow melody (listen for the solo clarinet) that
might make you think of a hot summer afternoon,
and a fast dance with lots of percussion instruments
(like claves, guiros, and tom toms). Many changes in
tempo, meter, and rhythm, make this a perfect finale
to our concert.
Franz Welser-Möst Music Director
Kelvin Smith Family Chair
FIRST VIOLINS
William Preucil
CONCERTMASTER
Blossom-Lee Chair
Yoko Moore
ASSISTANT CONCERTMASTER
Clara G. and
George P. Bickford Chair
Peter Otto
FIRST ASSOCIATE CONCERTMASTER
Jung-Min Amy Lee
ASSOCIATE CONCERTMASTER
Gretchen D. and
Ward Smith Chair
Takako Masame
Paul and Lucille Jones Chair
Wei-Fang Gu
Drs. Paul M. and Renate H.
Duchesneau Chair
Kim Gomez
Elizabeth and Leslie
Kondorossy Chair
Chul-In Park
Harriet T. and David L.
Simon Chair
Miho Hashizume
VIOLAS
Robert Vernon*
Chaillé H. and
Richard B. Tullis Chair
Lynne Ramsey1
Charles M. and
Janet G. Kimball Chair
Stanley Konopka 2
Mark Jackobs
Jean Wall Bennett Chair
Dr. Larry J.B. and
Barbara S. Robinson Chair
Bryan Dumm
Oswald and Phyllis Lerner
Gilroy Chair
Yu Yuan
Patty and John Collinson Chair
Isabel Trautwein
Trevor and Jennie Jones Chair
Mark Dumm
Gladys B. Goetz Chair
Alexandra Preucil
Katherine Bormann
Analisé Denise Kukelhan
SECOND VIOLINS
Stephen Rose*
Alfred M. and
Clara T. Rankin Chair
Emilio Llinas 2
James and Donna Reid Chair
Eli Matthews 1
Patricia M. Kozerefski and
Richard J. Bogomolny Chair
Sonja Braaten Molloy
Carolyn Gadiel Warner
Stephen Warner
Ioana Missits
Jeffrey Zehngut
Vladimir Deninzon
Sae Shiragami
Scott Weber
Kathleen Collins
Beth Woodside
Emma Shook
Elayna Duitman
Yun-Ting Lee
Edith S. Taplin Chair
EUPHONIUM AND
BASS TRUMPET
Richard Stout
Jeffrey Rathbun2
Everett D. and
Eugenia S. McCurdy Chair
Robert Walters
ENGLISH HORN
Robert Walters
The GAR Foundation Chair
Charles Bernard2
Alicia Koelz
BASS TROMBONE
Thomas Klaber
Arthur Klima
Samuel C. and
Bernette K. Jaffe Chair
Richard Waugh
Lisa Boyko
CLARINETS
Lembi Veskimets
Robert Woolfrey
Eliesha Nelson
McKelway 2
Joanna Patterson Zakany Daniel
Robert R. and
Patrick Connolly
Vilma L. Kohn Chair
Linnea Nereim
CELLOS
E-FLAT CLARINET
Mark Kosower*
Daniel McKelway
Louis D. Beaumont Chair
Stanley L. and
Richard Weiss1
Eloise M. Morgan Chair
Theodore Rautenberg Chair
Jeanne Preucil Rose
OBOES
Frank Rosenwein*
Helen Weil Ross Chair
Muriel and Noah Butkin Chair
Tanya Ell
Thomas J. and
Judith Fay Gruber Chair
Ralph Curry
Brian Thornton
William P. Blair III Chair
BASS CLARINET
Linnea Nereim
BASSOONS
John Clouser*
Louise Harkness Ingalls Chair
Gareth Thomas
Barrick Stees2
Sandra L. Haslinger Chair
Jonathan Sherwin
David Alan Harrell
Paul Kushious
Martha Baldwin
CONTRABASSOON
Jonathan Sherwin
BASSES
Maximilian Dimoff *
HORNS
Michael Mayhew§
Kevin Switalski 2
Scott Haigh1
Jesse McCormick
Clarence T. Reinberger Chair
Mary E. and F. Joseph
Callahan Chair
Mark Atherton
Thomas Sperl
Henry Peyrebrune
Charles Barr Memorial Chair
Charles Carleton
Scott Dixon
Derek Zadinsky
HARP
Trina Struble*
Alice Chalifoux Chair
FLUTES
Joshua Smith*
Elizabeth M. and Chair
Saeran St. Christopher
Marisela Sager 2
Austin B. and
Ellen W. Chinn Chair
Mary Kay Fink
PICCOLO
Mary Kay Fink
Anne M. and
M. Roger Clapp Chair
Knight Foundation Chair
Robert B. Benyo Chair
Hans Clebsch
Richard King
Alan DeMattia
TRUMPETS
Michael Sachs*
Robert and Eunice Podis
Weiskopf Chair
Jack Sutte
Lyle Steelman2
James P. and Dolores D.
Storer Chair
Michael Miller
CORNETS
Michael Sachs*
Mary Elizabeth and
G. Robert Klein Chair
TUBA
Yasuhito Sugiyama*
Nathalie C. Spence and
Nathalie S. Boswell Chair
TIMPANI
Paul Yancich*
Otto G. and
Corinne T. Voss Chair
Tom Freer 2
Mr. and Mrs. Richard K. Smucker Chair
PERCUSSION
Marc Damoulakis *
Margaret Allen Ireland Chair
Donald Miller
Tom Freer
KEYBOARD
INSTRUMENTS
Joela Jones*
Rudolf Serkin Chair
Carolyn Gadiel Warner
Marjory and Marc L.
Swartzbaugh Chair
LIBRARIANS
Robert O’Brien
Joe and Marlene Toot Chair
Donald Miller
ENDOWED CHAIRS
CURRENTLY UNOCCUPIED
Sidney and Doris Dworkin Chair
Dr. Jeanette Grasselli Brown
and Dr. Glenn R. Brown Chair
Sunshine Chair
Robert Marcellus Chair
George Szell Memorial Chair
* Principal
° Acting Principal
§ Associate Principal
1 First Assistant Princi pal
2 Assistant Principal
CONDUCTING STAFF
Brett Mitchell
ASSOCIATE CONDUCTOR
Elizabeth Ring and William Gwinn
Mather Chair
Robert Porco
DIRECTOR OF CHORUSES
Michael Miller
Frances P. and Chester C.
Bolton Chair
TROMBONES
Massimo La Rosa*
Gilbert W. and
Louise I. Humphrey Chair
Richard Stout
Alexander and
Marianna C. McAfee Chair
Shachar Israel2
Sym
Woodwind
Family
Good Audience Member
for Live Orchestra Performance
Description
Applauds when conductor crosses the stage and steps onto the podium.
Watches for the conductor to signal the orchestra to begin.
Listens quietly in seat while orchestra performs.
Claps when music stops and conductor turns to face the audience.
Listens carefully to enjoy the music.
MUSICAL
ENJOYMENT
Check us out online!
www.clevelandorchestra.com
See the
Sounds
This is page 1 of the conductor’s
music for Ludwig van Beethoven’s
Symphony No. 5. Since it shows
all the musicians’ parts, it is
called a “full score.”
This printed page takes only 10
seconds in performance and
shows the music for 11 different
instruments! Most lines of music
show the part for one or two
players, but some instruments—
such as the violins—have many
musicians playing the same
instrument. This page should be
played by a minimum of around
40 players.
4
8 players
4 Instruments
Brass Family
4 players
2 Instruments
Flutes
Oboes
Clarinets
Bassoons
Horns
Trumpets
Timpani
Percussion
Family
1 player
1 Instrument
String
Family
35-60 players
4 Instruments
Violins I
Violins II
Violas
Cellos
Basses
Conductors of Cleveland Orchestra Education Concerts
Brett Mitchell,
Associate Conductor,
The Cleveland Orchestra
BIRTHPLACE: Seattle, Washington
FAMILY: I got married two summers ago to
my beautiful wife Angela, who is a host on
WCLV. We live in Lakewood with our two
cats, M’ow and Jack.
FAVORITE FOOD: My mom’s turkey dinner is pretty hard
to beat. (Then again, so is my dad’s flank steak...)
FAVORITE MOVIE: Impossible to choose just one! I
love Star Wars, the first two Superman films (starring
Christopher Reeve), Field of Dreams, and Moulin Rouge!
FAVORITE book: Extremely Loud and Incredibly Close by
Jonathan Safran Foer. Also love the works of Cummings,
Auden, Hesse, Wilde, and Eliot.
PERFORMERS I ADMIRE: Every member of The Cleveland
Orchestra.
STUDIED MUSIC AT: I got my undergraduate degree in
music composition from Western Washington University,
and my graduate degrees in orchestral conducting from
The University of Texas at Austin.
ORCHESTRAS I’VE CONDUCTED: London Philharmonic
Orchestra, Leipzig Gewandhaus Orchestra, Detroit
Symphony, Oregon Symphony, Houston Symphony,
Rochester Philharmonic, Philadelphia Orchestra, Baltimore
Symphony, Memphis Symphony, Pittsburgh Symphony,
Frankfurt Radio Symphony, Washington D.C.’s National
Symphony Orchestra, and the Saint Paul Chamber
Orchestra.
INSTRUMENTS I HAVE STUDIED: My primary instrument
has always been the piano, which I’ve played since I was
a little boy. In school, I first played the saxophone, then
switched to percussion in high school.
MY HOBBIES ARE: I absolutely love Cleveland, but deep
down, I’ll always be a die-hard Seattle Seahawks fan.
Go Hawks! (I know, I know...)
mphony No. 5
in C
Minor, Op. 6
7
BRETT MITCHELL • MUSIC DIRECTOR
CHINA
In
In June, 2015, The Cleveland Orchestra
Youth Orchestra embarked on its second
international tour, an ambitious 10-day,
4-concert trip to the People’s Republic
of China. Seventy-five student musicians,
some of whom had never traveled by plane
before, flew 17 hours to China. They visited
Beijing, the ancient capital; Tianjin; Ningbo, and Shanghai (the skyscraper-filled global financial center of China). Led by
COYO Music Director (and Cleveland Orchestra Associate Conductor) Brett Mitchell
the students performed concerts at the Forbidden City Concert Hall in Beijing; the
Tianjin Grand Theater; the Shanghai Oriental Art Center; and the Ningbo Cultural
Plaza Theatre.
Did you know that China has the largest population in the world with well over 1 billion
people? It also has traffic congestion to match, which posed some challenges for
our large tour buses. And while we lacked the ability to speak the language or read
signs, we were relieved to learn first-hand (judging by our enthusiastic audiences)
that music really is a universal language.
Each one of the concert halls was spectacular, and most were very modern. Classical
music is highly valued in China and our audiences often included parents and grandparents eager to introduce children to classical music and to the Cleveland Orchestra Youth Orchestra. The concert program included works by traditional composers
such as Shostakovich, Barber, and Tchaikovsky. The Youth Orchestra musicians experienced a special moment of cultural exchange and connection at every concert
when they performed a traditional Chinese Folk Song (“Flower Drum Song”) as their
encore piece. The audience members showed great enthusiasm for this traditional
song, smiling broadly and clapping along as the music was played.
COYO musicians experienced traditional Chinese food, visited Beijing’s Forbidden
City, enjoyed a Chinese Arcobatic Troupe in Shanghai, and climbed the Great Wall
of China the largest man made structure in the world, stretching an incredible 8,850
kilometres
(5,500 miles).
Our visit occurred during
the Cavaliers
playoff games
(which explains
the “Go Cavs!”)
sign displayed
at right !
Orchestra touring
provides
a very special
bonding experience for musicians. Playing
the same concert repertoire night after night gives them an opportunity to perfect
their sound and build upon each successful performance, cheered on by enthusiastic
international crowds.
Many of our COYO musicians wrote ‘eyewitness’ blog posts throughout the trip – you
can read them at clevelandorchestrayouthorchestra.com/coyo-china-tour-blog.
And all agreed that this was “a trip of a lifetime” that they would never forget!
The whole Cleveland Orchestra goes ‘back to school’ once each year. In recent years, in-school concerts
have taken place at John Hay, James Ford Rhodes, John Adams, Cleveland School of the Arts, Memorial
School, Mound School, Saint Ignatius, Saint Joseph Academy, Shaker Heights High School.
5
What Am I?
Unscramble the letters using the description in the right hand
column as clues to answer the question, “What Am I?” Answers
to this game are also hidden in the Musical Wordfinder Game.
IT’S A
FAMILY
AFFAIR
Unscramble the letters to name the four families of
instruments, then unscramble each instrument in the family
a) LOOS
A single voice, instrument, or
featured part of a concerto.
b) DABN
An ensemble made up of brass,
woodwind, and percussion
instruments.
c) HICEMS
A musical instrument that
suggests bells.
d) RIOT
A set of three voices or parts.
e) DEER
A thin piece of wood over the air
opening of a wind instrument.
f) ROBEDYKA
A piano, xylophone, and an organ are
often called this type o
f instrument.
g) ESCOR
The name of the music read by
a conductor or the name of this newspaper.
h) TARSOCHER
An ensemble that includes strings, brass, woodwinds, and percussion
instruments.
i) TRUCNODOC
An orchestra or band leader.
j) TOBAN
The stick or wand used by an
orchestra or band leader.
MUSICAL
WORD FIND
Test your knowledge of music by finding the 40 words in this puzzle that
have to do with instrumental music. The words can be found vertically,
horizontally, and diagonally.
anbtuclar i n e tb ltm
nz arvnop p gq r s r oeu
D i cqamk e yb o a rd i ws
ox cswstr i ng n gd fo i
UDYYXTSCDUETGC BBC
BOMLOILUHIGCELLOI
L B BAOMJSAXOP HONEA
EPANRPKSREE DSOAZN
BOLNDAHIPWTPXORYS
ASST DNWOO DWIN DLNO
SICRAIUNNFGA MLSOU
STOOTCHI MESNVPNK B
CRUMRORGAN HOIIAJA
OUFBCEVBASSOONRXT
NMLOABASSVIOL MEPO
CPunVIOLINPOANDLN
EETEUTRORC HESTRAG
RTEVTAMBOURINEUYO
TMARCHSBASS DRUMQN
FUCONDUCTOR JA MPZG
6
band
bass drum
bassoon
baton
bow
brass
cello
chimes
clarinet
concert
conductor
cymbals
double bass
duet
flute
gong
harp
keyboard
musicians
oboe
orchestra
organ
percussion
piano
reed
saxophone
score
snare drum
solo
string
tambourine
timpani
trio
trombone
trumpet
tuba
viola
violin
woodwind
xylophone
Send a letter to the editor
about your concert experience.
Mail your letter to:
Education Department
The Cleveland Orchestra
Severance Hall
11001 Euclid Avenue
Cleveland, OH 44106
Include your name, school and grade
7
BRETT MITCHELL • MUSIC DIRECTOR
Family
Concerts
This popular three-concert
series, designed for young
people ages 7 & up, is a perfect
introduction to orchestral music.
Halloween
Spooktacular
Oct 25, 2015
SUN at 3 p.m.
2015-2016 marks the 30th season of the Cleveland Orchestra Youth
Orchestra, and its second season with Brett Mitchell as music director.
During the 2015-16 season, the 100 members of the Cleveland
Orchestra Youth Orchestra will present three concerts at Severance
Hall on November 22, March 4 (with the Cleveland Orchestra Youth
Chorus) and May 8.
Youth Orchestra members come from 40 communities across Ohio.
It is very possible that someone from your area is in the Youth
Orchestra. Most of these talented young musicians have been playing
an instrument for at least three years, and some for many more. They
became Youth Orchestra members by playing an audition for the
music director and members of The Cleveland Orchestra.
Members of the Cleveland Orchestra Youth Orchestra and their
conductor practice together every weekend at Severance Hall. They
rehearse the same great music as The Cleveland Orchestra, and they
get to meet and work with many members of The Cleveland Orchestra
who serve as coaches for the Youth Orchestra. If you are in middle
school or high school and play an orchestral instrument, please consider
auditioning. The Youth Orchestra holds auditions every spring – usually
in May. For Youth Orchestra information, please call (216) 231-7352 or
visit www.clevelandorchestrayouthorchestra.com.
C L E V E L A N D
O R C H E S T R A
CHILDREN’S CHORUS
A n n usher
•
DIRECTOR
The Cleveland Orchestra Children’s (COCC) and Preparatory Choruses
(COCPC) help students develop their leadership skills through music
which help strengthen their
future musical experiences.
The Cleveland Orchestra Children’s Chorus, founded in 1967,
and comprised of students in
grades 6-8; performs regularly
with The Cleveland Orchestra
and Cleveland Orchestra Chorus throughout their subscription and holiday season. The
Preparatory Chorus led by Suzanne Walters and comprised
of students in grades 5-8, collaborates with the Children’s
Chorus in two concerts each season. Students are chosen through auditions held in the spring. For information, please call the Chorus Office at
(216) 231-7374 or email [email protected].
L isa W o n g
•
DIRECTOR
The Cleveland Orchestra Youth Chorus (COYC) 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.
Like their colleagues in the
Youth Orchestra, they are
in grades 9-12, from over 30
schools and communities,
and are selected by competitive auditions. The COYC has
the opportunity to perform
concerts in the greater Cleveland community as well as on
stage at Severance Hall alongside their colleagues in the Cleveland Orchestra Youth Orchestra. For information, please call the Chorus Office at
(216) 231-7374 or email [email protected].
Acknowledgments
The Score is prepared by the Education &
Community Department of The Cleveland
Orchestra. All rights reserved.
Photos of The Cleveland Orchestra
by Roger Mastroianni
The Musical Arts Association,
operating The Cleveland Orchestra
Gary Hanson, Executive Director
Joan Katz Napoli, Director,
Education and Community Programs
Sandra A. Jones, Manager,
Education and Family Concerts
Cleveland Institute
of Music
Orchestra
Carl Topilow,
conductor
Lauren Generette, Manager,
Cleveland Orchestra Youth Orchestra
An afternoon
of deliciously
frightening fun and
terrifying tales featuring
the spooky sounds of orchestral
favorites Saint-Saëns’s Danse macabre and
Dukas’s The Sorcerer’s Apprentice, plus
favorites by John Williams from Star Wars,
Superman, and Harry Potter. Come dressed
in your Halloween best for our costume
contest!
Sarah Lamb, Coordinator
Education & Community Programs
Rachel Novak, Manager,
Learning Programs and Community Engagement
We gratefully acknowledge the following
organizations for their contributions to the
Violins of Hope research:
- Zachary Lewis, The Cleveland Plain Dealer
- Mark Swaim-Fox and Lisa Lefstein Berush,
Facing History and Ourselves
- James A. Grymes, Violins of Hope
The Cleveland Orchestra’s
2015-16 Education and Community
Programs are made possible by:
Endowment Funders
Gotta
Dance!
MARCH 15,
2016
FRI at 7:30 p.m.
The Cleveland Orchestra
Brett Mitchell, conductor
With special guests Magic Circle Mime Co.
Put on your dancing shoes, grab your
partner, and join The Cleveland Orchestra
and the “new” Cleveland Ballet for a concert
of history’s most toe-tapping Classical
music. With musical selections including a
wild square dance from Copland’s Rodeo,
and rousing Slavonic Dances by Dvořák.
Green
eggs and
hamadeus
April 16,
2016
SAT at 2 p.m.
The Cleveland
Orchestra
Rob Kapilow,
conductor and host
Danny Pelzig,
director
Sherry Boone, soprano
This concert brings together the worlds of Dr.
Seuss and Mozart, in a whiz-bang mash-up
designed especially for children. The Boston
Globe called Green Eggs and Hamadeus “the
most popular family music since Prokofiev’s
Peter and the Wolf and Britten’s Young
Person’s Guide to the Orchestra.” You will like
it, Sam-I-am!
Dr. Seuss properties TM & © 1960
Dr. Seuss Enterprises, L.P. All Rights Reserved.
Free pre-concert activities begin
one hour before concert time.
Order tickets online at
clevelandorchestra.com,
or call 216-231-1111,
or 800-686-1141.
Family Series Concerts are sponsored
by The Giant Eagle Foundation.
Hope and Stanley I. Adelstein
Kathleen L. Barber
Mr. Roger G. Berk
In memory of Anna B. Body
Isabelle and Ronald Brown
Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown
Roberta R. Calderwood
Alice H. Cull Memorial
Mr. and Mrs. Charles R. Emrick, Jr.
Charles and Marguerite C. Galanie
Mr. David J. Golden
The George Gund Foundation
The Hershey Foundation
Dorothy Humel Hovorka
Mr. James J. Hummer
Frank and Margaret Hyncik
Junior Committee of The Cleveland Orchestra
Walter and Jean Kalberer Foundation
Alfred M. Lerner In-School Performance Fund
Linda and Saul Ludwig
Machaskee Fund for Community Programming
Mr. and Mrs. Stanley A. Meisel
Christine Gitlin Miles, in honor of Jahja Ling
Mr. and Mrs. David T. Morganthaler
Morley Fund for Pre-School Education
The Eric & Jane Nord Family Fund
Pysht Fund
The Max Ratner Education Fund, given by the
Ratner, Miller, and Shafran Families and Forest
City Enterprises, Inc.
The William N. Skirball Endowment
Anonymous, in memory of Georg Solti
Jules and Ruth Vinney Cleveland Orchestra
Youth Orchestra Touring Fund
PROGRAM FUNDERS
The Abington Foundation
Paul M. Angell Family Foundation
Eva L. and Joseph M. Bruening Foundation
Mary E. and F. Joseph Callahan Foundation
Conway Family Foundation
Cuyahoga County Residents through
Cuyahoga Arts & Culture
Dominion Foundation
FirstMerit Foundation
The Harry K. Fox and Emma R. Fox
Charitable Foundation
The Giant Eagle Foundation
The William Randolph Hearst Foundation
KeyBank
The Laub Foundation
Macy’s
Muna & Basem Hishmeh Foundation
Martha Holden Jennings Foundation
The Nord Family Foundation
Nordson Corporation Foundation
Ohio Arts Council
Ohio Savings Bank,
A Division of New York Community Bank
PNC Bank
The Reinberger Foundation
Albert G. and Olive H. Schlink Foundation
The Sherwin-Williams Company
Thomas H. White Foundation
The Edward and Ruth
Wilkof Foundation
Women’s Committee
of The Cleveland
Orchestra
as of August 2015