2015-16 Season Guide for Young Concert-goers

TABLE OF CONTENTSViolins of Hope, Grades 6-8 & 9-12 . . . .2A Matter of Time, Grades 3-5 . . . . . . . . .3See the Sounds . . . . . . . . . . . . . . . . . . . . 4Conductor of the Orchestra . . . . . . . . . .5Fun & Games . . . . . . . . . . . . . . . . . . . . . . 6

Fan Mail . . . . . . . . . . . . . . . . . . . . . . . . . . .7Youth Orchestra . . . . . . . . . . . . . . . . . . . .8Children’s Chorus . . . . . . . . . . . . . . . . . . .8Youth Chorus . . . . . . . . . . . . . . . . . . . . . . .8Family Concerts . . . . . . . . . . . . . . . . . . . .8

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

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.

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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

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.

“Wherever there were violins, there was hope.”

Amnon Weinstein, Violins of Hope founder and creator

The Cleveland Orchestra with Amnon Weinstein and the Violins of Hope, September 27, 2015.

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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 Lon-don, England to parents of Jew-ish 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 ProkofievIn Jewish culture (as in many cultures) music marks both happy and sad occasions, unites people in prayer, provides entertainment, and, for an unusu-ally large number of Jews in pre-World War II Eu-rope, provided a professional career. (Jews were disproportionately represented in professional or-chestras 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 cel-ebratory 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 com-poser 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. Pe-tersburg Conservatory at age 13

where he studied with the famous Russian com-poser Nikolai Rimsky-Korsakov. Prokofiev spent twenty years traveling in America and western Eu-rope 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.

Cleveland Orchestra Education Concerts for Grades 6-12

“Allegro molto” from Chamber Symphony for String Orchestra by ShostakovichDespite 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 resis-tance (defiance, illegal food smuggling etc.) and spiritual re-sistance (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 sys-tem, which significantly influenced his musical compositions. His style, both tra-ditional and experimental, reflected his need to write music that expressed his in-nermost feelings of resistance and protest against political injustice without drawing

too much attention to his unpatriotic message. In his Cham-ber 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 WilliamsThe 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 extermi-nating 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 in-nocent 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 com-position at the Julliard School of Mu-sic in New York. He has written mu-sic for more than 75 movies, including Jurassic Park, Raiders of the Lost Ark, E.T., Home Alone, Hook, Harry Potter and Star Wars.

VIOLINS hOpeof“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 Ameri-can 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 He-brew 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 BruchKol 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 sol-emn 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 Jew-ish, but he was not. The piece alternates between a simple melody, played by solo cello and representa-tive of the reflective spirit of the Yom Kippur holi-day, 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, Aus-tria, 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 musi-cal 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 vi-brant music that is bouncy, quick,

and light, ending this musical exploration of the Holo-caust on a positive note.

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FINZI PreludePROKOFIEV Overture on Hebrew ThemesSHOSTAKOVICH “Allegro molto” from Chamber Symphony for String OrchestraWILLIAMS Main Theme from Schindler’s List BLOCH “Simchas Torah” (“Rejoicing”) from Baal ShemBRUCH Kol NidreiROSSINI Overture from La scala di seta (“The Silken Ladder”)

December 1-4, 2015The Cleveland Orchestra • Brett Mitchell, conductor

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.

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.

John Corigliano(b. 1938)

TARANTELLA from Gazebo DancesA 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 poison-ous that it made people feel crazy, and they would dance around wildly. This exciting dance has a gal-loping 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 231Arthur Honegger, a French composer, wrote Pacific 231 to describe a certain kind of loco- motive 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. 8A 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 fasci-nated him. The Allegretto Scherzando movement from his eighth symphony is a tribute to their non-stop 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.

The Cleveland Orchestra Brett Mitchell, conductor

February 23-25, 2016

– 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 dif-ficult to dance to Stravinsky’s music because it was so hard to count the changing beats!

Georges Bizet (1838-1875)

HABANERA from CarmenGeorges 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. 2The 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, even-

tually writing his own version of a danzón for a full orchestra. The music switches back and forth be-tween 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.

Cleveland Orchestra Education Concerts for Grades 3-5

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

Music is all a matter of time. Compos-ers 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 de-pends 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.”

MusicMusicTick?Tick?

A Matter of Time: What Makes

John Philip Sousa (1854-1932)

THE STARS AND STRIPES FOREVERChances are likely that you’ve heard this popular march at a parade or Fourth of July celebra-

tion. 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 WALTZESWhile 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 sev-eral 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 be-come 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 orches-tra 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 move-ment 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 distract-ed 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 SpringWhat if a composer took sections of music in all different meters

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See the SoundsThis 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.

Woodwind Family8 players4 Instruments

Brass Family4 players2 Instruments

Percussion Family1 player1 Instrument

String Family35-60 players4 Instruments

Symphony No. 5 in C Minor, Op. 67Flutes

Oboes

Clarinets

Bassoons

Horns

Trumpets

Timpani

Violins I

Violins II

Violas

Cellos

BassesCheck us out online!www.clevelandorchestra.com

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Good Audience Memberfor Live Orchestra Performance

DESCRIPTIONApplauds 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

FIRST VIOLINSWilliam PreucilCONCERTMASTER Blossom-Lee ChairYoko MooreASSISTANT CONCERTMASTER Clara G. and George P. Bickford ChairPeter OttoFIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy LeeASSOCIATE CONCERTMASTER Gretchen D. and Ward Smith ChairTakako Masame Paul and Lucille Jones ChairWei-Fang Gu Drs. Paul M. and Renate H. Duchesneau ChairKim Gomez Elizabeth and Leslie Kondorossy ChairChul-In Park Harriet T. and David L. Simon ChairMiho Hashizume Theodore Rautenberg ChairJeanne Preucil Rose Dr. Larry J.B. and Barbara S. Robinson ChairAlicia Koelz Oswald and Phyllis Lerner Gilroy ChairYu Yuan Patty and John Collinson ChairIsabel Trautwein Trevor and Jennie Jones ChairMark Dumm Gladys B. Goetz ChairAlexandra Preucil Katherine Bormann Analisé Denise Kukelhan

SECOND VIOLINSStephen Rose* Alfred M. and Clara T. Rankin ChairEmilio Llinas 2

James and Donna Reid ChairEli Matthews 1

Patricia M. Kozerefski and Richard J. Bogomolny ChairSonja Braaten MolloyCarolyn Gadiel WarnerStephen WarnerIoana MissitsJeffrey Zehngut Vladimir DeninzonSae ShiragamiScott WeberKathleen CollinsBeth WoodsideEmma ShookElayna DuitmanYun-Ting Lee

FRaNz WELSER-MöST Music DirectorKelvin Smith Family Chair

VIOLaSRobert Vernon* Chaillé H. and Richard B. Tullis ChairLynne Ramsey1

Charles M. and Janet G. Kimball ChairStanley Konopka 2

Mark Jackobs Jean Wall Bennett ChairArthur KlimaRichard WaughLisa BoykoLembi VeskimetsEliesha NelsonJoanna Patterson ZakanyPatrick Connolly

CELLOSMark Kosower* Louis D. Beaumont ChairRichard Weiss1

The GAR Foundation ChairCharles Bernard2

Helen Weil Ross ChairBryan Dumm Muriel and Noah Butkin ChairTanya Ell Thomas J. and Judith Fay Gruber ChairRalph CurryBrian Thornton William P. Blair III ChairDavid Alan HarrellPaul KushiousMartha Baldwin

BaSSESMaximilian Dimoff * Clarence T. Reinberger ChairKevin Switalski 2

Scott Haigh1

Mary E. and F. Joseph Callahan ChairMark AthertonThomas SperlHenry Peyrebrune Charles Barr Memorial ChairCharles CarletonScott DixonDerek Zadinsky

HaRPTrina Struble* Alice Chalifoux Chair

FLUTESJoshua Smith* Elizabeth M. and ChairSaeran St. ChristopherMarisela Sager 2

Austin B. and Ellen W. Chinn ChairMary Kay Fink

PICCOLOMary Kay Fink Anne M. and M. Roger Clapp Chair

OBOESFrank Rosenwein* Edith S. Taplin ChairJeffrey Rathbun2

Everett D. and Eugenia S. McCurdy ChairRobert Walters

ENGLISH HORNRobert Walters Samuel C. and Bernette K. Jaffe Chair

CLaRINETSRobert WoolfreyDaniel McKelway 2

Robert R. and Vilma L. Kohn ChairLinnea Nereim

E-FLaT CLaRINETDaniel McKelway Stanley L. and Eloise M. Morgan Chair

BaSS CLaRINETLinnea Nereim

BaSSOONSJohn Clouser* Louise Harkness Ingalls ChairGareth Thomas Barrick Stees2

Sandra L. Haslinger ChairJonathan Sherwin

CONTRaBaSSOONJonathan Sherwin

HORNSMichael Mayhew§

Knight Foundation ChairJesse McCormick Robert B. Benyo ChairHans Clebsch Richard KingAlan DeMattia

TRUMPETSMichael Sachs* Robert and Eunice Podis Weiskopf ChairJack SutteLyle Steelman2

James P. and Dolores D. Storer ChairMichael Miller

CORNETSMichael Sachs* Mary Elizabeth and G. Robert Klein ChairMichael Miller

TROMBONESMassimo La Rosa* Gilbert W. and Louise I. Humphrey ChairRichard Stout Alexander and Marianna C. McAfee ChairShachar Israel2

BaSS TROMBONEThomas Klaber

EUPHONIUM aNDBaSS TRUMPETRichard Stout

TUBaYasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

TIMPaNIPaul Yancich* Otto G. and Corinne T. Voss ChairTom Freer 2

Mr. and Mrs. Richard K. Smucker Chair

PERCUSSIONMarc Damoulakis * Margaret Allen Ireland ChairDonald MillerTom Freer

KEYBOaRDINSTRUMENTSJoela Jones* Rudolf Serkin ChairCarolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRaRIaNSRobert O’Brien Joe and Marlene Toot Chair Donald Miller

ENDOWED CHaIRSCURRENTLY UNOCCUPIEDSidney and Doris Dworkin ChairDr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair Sunshine ChairRobert Marcellus ChairGeorge Szell Memorial Chair

* Principal° Acting Principal§ Associate Principal1 First Assistant Princi pal2 Assistant Principal

CONDUCTING STaFF

Brett MitchellASSOCIATE CONDUCTOR Elizabeth Ring and William Gwinn Mather Chair

Robert PorcoDIRECTOR OF CHORUSES Frances P. and Chester C. Bolton Chair

Symphony No. 5 in C Minor, Op. 67

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...)

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.

Conductors of Cleveland Orchestra Education Concerts

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B R E T T M I T C H E L L • M U S I C D I R E C T O R

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; Ning-bo, 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 grand-parents eager to introduce children to classical music and to the Cleveland Orches-tra Youth Orchestra. The concert program included works by traditional composers such as Shostakovich, Barber, and Tchaikovsky. The Youth Orchestra musicians ex-perienced 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 k i l o m e t r e s (5,500 miles). Our visit oc-curred during the Cavaliers playoff games (which explains the “Go Cavs!”) sign displayed at right !

Orchestra tour-ing provides a very special bonding expe-rience for mu-sicians. 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!

CHINACHINAIn

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Unscramble the letters to name the four families of instruments, then unscramble each instrument in the family

IT’S A

FAMILY AFFAIR

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.

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 of 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.

MUSICALWORD FINDTest 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.

bandbass drumbassoonbatonbowbrasscellochimesclarinetconcertconductorcymbalsdouble bassduetflutegongharpkeyboardmusiciansoboeorchestraorganpercussionpianoreedsaxophonescoresnare drumsolostringtambourinetimpanitriotrombonetrumpettubaviolaviolinwoodwindxylophone

a n B t u c l a r i n e t B l t M n z a r v n o p p g q r s r o e u D i c q a M k e y B o a r D i w s o x c s w s t r i n g n g D f o i u D y y x t s c D u e t g c B B c B o M l o i l u H i g c e l l o i l B B a o M J s a x o p H o n e a e p a n r p k s r e e D s o a z n B o l n D a H i p w t p x o r y s a s s t D n w o o D w i n D l n o s i c r a i u n n f g a M l s o u s t o o t c H i M e s n v p n k B c r u M r o r g a n H o i i a J a o u f B c e v B a s s o o n r x t n M l o a B a s s v i o l M e p o c p u n v i o l i n p o a n D l n e e t e u t r o r c H e s t r a g r t e v t a M B o u r i n e u y o t M a r c H s B a s s D r u M q n f u c o n D u c t o r J a M p z g

7

Send a letter to the editor about your concert experience. Mail your letter to:

Education DepartmentThe Cleveland OrchestraSeverance Hall11001 Euclid AvenueCleveland, OH 44106

Include your name, school and grade

The Cleveland Orchestra Youth Chorus (COYC) was founded in 1991 to help raise awareness of choral music-making in the schools of north-east 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 competi-tive auditions. The COYC has the opportunity to perform concerts in the greater Cleve-land community as well as on stage at Severance Hall alongside their colleagues in the Cleveland Or-chestra Youth Orchestra. For information, please call the Chorus Office at (216) 231-7374 or email chorus@clevelandorchestra.com.

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 .

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 Chil-dren’s Chorus, founded in 1967, and comprised of students in grades 6-8; performs regularly with The Cleveland Orchestra and Cleveland Orchestra Cho-rus throughout their subscrip-tion and holiday season. The Preparatory Chorus led by Su-zanne Walters and comprised of students in grades 5-8, col-laborates with the Children’s

Chorus in two concerts each season. Students are chosen through audi-tions held in the spring. For information, please call the Chorus Office at (216) 231-7374 or email chorus@clevelandorchestra.com.

The Cleveland Orchestra’s 2015-16 Education and Community Programs are made possible by:

Family Concerts

as of August 2015

B R E T T M I T C H E L L • M U S I C D I R E C T O R

A n n U S H E R • D I R E C T O R

C L E V E L A N D O R C H E S T R A

CHILDREN’S CHORUS

L I S A W O n g • D I R E C T O R

ENdOwmENT FuNdErSHope and Stanley I . AdelsteinKathleen L . BarberMr . Roger G . BerkIn memory of Anna B . BodyIsabelle and Ronald BrownDr . Jeanette Grasselli Brown and Dr . Glenn R . BrownRoberta R . CalderwoodAlice H . Cull MemorialMr . and Mrs . Charles R . Emrick, Jr .Charles and Marguerite C . GalanieMr . David J . GoldenThe George Gund FoundationThe Hershey FoundationDorothy Humel HovorkaMr . James J . HummerFrank and Margaret HyncikJunior Committee of The Cleveland OrchestraWalter and Jean Kalberer FoundationAlfred M . Lerner In-School Performance FundLinda and Saul LudwigMachaskee Fund for Community ProgrammingMr . and Mrs . Stanley A . MeiselChristine Gitlin Miles, in honor of Jahja LingMr . and Mrs . David T . MorganthalerMorley Fund for Pre-School EducationThe Eric & Jane Nord Family FundPysht FundThe Max Ratner Education Fund, given by the

Ratner, Miller, and Shafran Families and Forest City Enterprises, Inc .

The William N . Skirball EndowmentAnonymous, in memory of Georg SoltiJules and Ruth Vinney Cleveland Orchestra

Youth Orchestra Touring Fund PrOGrAm FuNdErSThe Abington FoundationPaul M . Angell Family FoundationEva L . and Joseph M . Bruening FoundationMary E . and F . Joseph Callahan FoundationConway Family FoundationCuyahoga County Residents through

Cuyahoga Arts & CultureDominion FoundationFirstMerit FoundationThe Harry K . Fox and Emma R . Fox

Charitable FoundationThe Giant Eagle FoundationThe William Randolph Hearst FoundationKeyBankThe Laub FoundationMacy’sMuna & Basem Hishmeh FoundationMartha Holden Jennings FoundationThe Nord Family FoundationNordson Corporation FoundationOhio Arts CouncilOhio Savings Bank,

A Division of New York Community BankPNC BankThe Reinberger FoundationAlbert G . and Olive H . Schlink FoundationThe Sherwin-Williams CompanyThomas H . White FoundationThe Edward and Ruth

Wilkof FoundationWomen’s Committee

of The Cleveland Orchestra

HALLOwEEN SPOOkTACuLArOCT 25, 2015 SUN at 3 p .m .Cleveland Institute of Music OrchestraCarl Topilow, conductor

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!

GOTTA dANCE!mArCH 15, 2016 FRI at 7:30 p .m .

The Cleveland OrchestraBrett Mitchell, conductorWith 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 .

This popular three-concert series, designed for young people ages 7 & up, is a perfect introduction to orchestral music.

GrEEN EGGS ANd HAmAdEuSAPriL 16, 2016SAT at 2 p .m .The Cleveland OrchestraRob Kapilow, conductor and hostDanny Pelzig, directorSherry 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.

Family Series Concerts are sponsored by The Giant Eagle Foundation.

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.

AcknowledgmentsThe Score is prepared by the Education & Community Department of The ClevelandOrchestra . 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

Lauren Generette, Manager, Cleveland Orchestra Youth Orchestra

Rachel Novak, Manager, Learning Programs and Community Engagement

Sarah Lamb, Coordinator Education & Community Programs

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