The Story of This Year's Music And Its Industry Feature

The majority of the work that I do for CYO is done from my home office. 

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I sit in my father's vintage desk chair (he was an attorney) and use his turn-of-the-century conference table as my desk. My shiny iMac sits on top of the worn wood and is joined by a Bose speaker, pictures of my family and friends, random piles of music, letters and mugs left with a few sips of tea or coffee from a few days ago.

The walls of the office are adorned with framed CYO concert posters, awards we've received, a cool invitation to my great-grandparents 20th wedding anniversary from 1931, a picture of my sister crossing the finish line in one of her many marathons, ticket stubs from various shows (and my nieces theatre performances), a piece of framed art created by Jon Anderson that he gave to me after our show in 2010, and the original Woodstock poster that Graham Nash signed for me in 2003. Did you know that the hand on the guitar is Steven Stills hand?!

Liza Grossman CYO

The two bookshelves are filled with some of my favorite books, the complete collection of CYO CDs and DVDs, magazines in which we've been featured, books on John Belushi and Annie Lebovitz, a printer and my DEVO hat signed by Mark Mothersbaugh.

I like to control the mood in my environment by adjusting the lighting, so I only use floor lamps. Overhead lighting makes me feel as though I am in a stuffy corporate office – so it doesn’t exist in my home life.

Also, at all times, one, two or three dogs are sleeping on the warm grey rug that covers part of the wood floor.
 
This inspiring and personal space is where I create the shows, make the calls, answer emails, listen to music, eat lunch and make it happen. Furthermore, it is here that I worked on the 8th installment of Music and Its Industry for our upcoming show in March 2014.

Liza Grossman CYO

We are doing a show based on Branding Music, of which the seed was planted in 2010 when (my now principal percussionist) Eric Poe was a freshman. He asked if we could do an all Disney Show. I told him that if he was still here his senior year, that I would do a Disney show. He remembered, and kindly reminded me of that last March.
 
So, staying true to my word, I contacted Disney and worked directly with a helpful, encouraging, informative, incredibly knowledgeable and easy to talk with man. We planned the whole show together. It was hot and happening! An awesome Disney package that would make Dick Van Dyke sing with the bluebirds. 

Then a dark cloud descended on our carousel of happiness. The weekend before CYO's show in March, Disney Live is scheduled in Cleveland! They decided that we could not do our show because we would COMPETE with their show. Wow – really?! Talk about a major compliment!
 
After talking with Disney again, they've allowed us to perform 3 or 4 of the tunes from their catalogue, and we will add pieces from Pixar and other markets. Although we cannot bill it as a Disney show, all of the music still fits into the category of Branding Music – which I see as exploring how a brand (like Disney) has a noticeable, consistent personality and sound in their soundtracks. What makes music specific to a certain type of movie? This is what we will explore for March 2014.
 
So here I sit, looking over lists of tunes for us to perform in March. I can hear water beginning to boil in the kitchen for another mug of tea, that I will sip while whistling zip a dee doo dah. At my feet, three dogs sleep having succumbed to the calming effects of the soft lighting.

Welcome to the 19th Season of Contemporary Youth Orchestra!

Hello!

This is the first installment of our new weekly newsletter that we will use to stay in touch with everyone about all the cool things we are doing.

We are now 3 weeks into our season and the orchestra is quickly coming together as a unit. It's fascinating how quickly we become a family, especially with 40 new members this season. For these musicians, the process of becoming comfortable in a new environment could be daunting (especially when 80 returning musicians surround them), but the environment of CYO is supportive, inclusive and friendly - even with the challenges and seriousness of rehearsals.

For our first concert this season, we are preparing a program that awakens the senses to many different colors and styles.

Short Ride In A Fast Machine by John Adams is one of the 10 most performed fanfares played today. Composed in 1986 after a commission from Michael Tilson-Thomas, Adams says he was inspired to write the work after taking a ride in his brother-in-law's Lamborghini, and wishing that he hadn’t! It is a 5-minute work that relies on the constant pulse of the wood block, while the rest of the orchestra rides a gauntlet throughout.  

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Loco-Motion, by composer Stella Sung is just what the title suggests. When I was working at Interlochen Center for the Arts this summer, this work opened our final concert. The piece's energy was exciting and the composer made the orchestra sound like a train. At intermission, I googled Ms. Sung on my iPad and by the end of the concert, we had connected.  The piece was shipped to us the next day! The results of being inspired are phenomenal.

Our annual concerto opportunity auditions are happening on October 6, so we will know which CYO member will be featured very soon!

Each season, we collaborate with a Cleveland Orchestra member or other nationally recognized musician to perform a world premiere concerto.  To date, we have performed concerti with nine Cleveland Orchestra members and ten groups or soloists, including the Pacifica Quartet, Electrik Kompany and Project Trio.

This season, we are red-hot tango excited to welcome The Oblivion Project. They are a group of musicians who represent, in an authentic setting, the music of Astor Piazzolla.  We will perform 7 Tangos with this award-winning group and turn the stage into a smoldering Nuevo tango nightclub. Water is welcome in the auditorium.

Keeping things hot, we will end the concert with Firebird 1919 by Igor Stravinsky. Being the 100th anniversary of The Rite of Spring, I thought it appropriate to pay homage to this iconic composer by performing one of his major works, and since it is our 19th season, the 1919 drew me in. 

The concert is Saturday, December 7, 2013 on our home stage at Cleveland State University. Come check out this trend setting orchestra. I am inspired to be a better conductor and teacher with every rehearsal, conversation and moment of triumph with these musicians. 

From the podium of the Contemporary Youth Orchestra, the future is evolving!

 

Music and Its Industry: Part Seven

Now. This years installment. My friend, Jennifer (who is also our Graphic Designer) and her boyfriend (now husband) Steve gave me an idea. Circus Music. TA-DA! OOOOOOOOOOO. SO exciting! The circus is one of the few traveling performance genres that still uses a LIVE orchestra. Money is tight these days, and for the first time in...I think ever...I could not do what I wanted to do artistically with this genre. 

Cartunestra Rehearsal

Cartunestra Rehearsal

We had a family circus and composer of circus music ready to go. In order for us to do this the way I know we have to, I decided to put this one on hold for two seasons so that we, along with other non-profits, can recover and get serious funding for this show. No biggie - just more time to plan! 

So - what to do.... Sounds like a great time for the second installment of Tunes for 'Toons, Two! Daniel and I are talking about a different approach with which cartoons we will do. I don't want the show to be the same (obviously) and I believe that cartoons have been used for many different cultural outlets. Political, race issues, education... That's the road I am considering right now. 

So - save the date! March 10, 2012 7pm 

Cleveland State University Waetjen Auditorium 

More to come, of course. From the podium of the Contemporary Youth Orchestra, the future is industrious!

  

Music and Its Industry: Part Six

Next installment: March, 2011. Children's Music with Billy Jonas. 

Of course, there is a story. August, 2009. My friends, Jim and Jena and their two kids, Ethan and Gideon are coming to Cleveland (from Columbus) to hear Billy Jonas at Cain Park. (Cool outdoor venue about 1/2 mile from our house in Cleveland Heights). Would I like to join them? Well - obviously! Two of my closest friends, who are also musicians, are driving up a few hours to hear this guy. I am going. It is a hot day. HOT. The only thing I have with me, besides minimal clothing on my back, is a water bottle that I froze for the occasion. The concert starts and I am immediately drawn in. 

This guy is playing funky beats and his back up singers are winding it out with killer harmonies - and he is playing percussion equipment that he made - from random things you might find around the house, or street...  

At intermission, Billy had a table of swag for sale. I like swag. T-shirts, CD's....and...a BOX where you can fill out a card for a drawing to WIN some swag. oh yeah. As I mentioned, I had nothing with me - so the biz cards were at home. In AC. 

So, on this little card, a little bigger than biz card, I filled out my name and then wrote an entire story about CYO and why he needed to come and play with us. Tiny writing - front and back. 

After dropping it in the box, I shwagged back to our seats and proudly told Jim and Jena what I had done and that Billy was going to pull my card because we were supposed to work together. They laughed at me. I remained confident and held my ground. A few tunes into the second half, Billy held the box above his head and twirled it and spun it. Swooshed his hand around in it and pulled a card. 

He said - and the winner is ....pause....pause...reading...then he turns the card over...still reading....and then...

Liza Grossman!          YUP.

‘Told you so’ was all over my face when Jim and Jena were laughing hysterically. Billy came out after the show and we made plans at that moment to do this in March, 2010. 

We did so many fun tunes for Children - and for the first time, had two shows. We were developing audience capacity (even though we sell out our shows, we were trying to add more people to our list!) The CYO Members had fun.  We did not have full houses for the two shows, so perhaps this was not the one to try this with - but we did reach two audiences! Saturday night people and the Sunday afternoon young children and families. Fantastic!  

The challenge for me was to have the music orchestrated so that it was a challenge for the CYO members. It wasn't technically challenging enough for my taste for them - but we had a good time and they were exposed to a genre that was vital, necessary and potentially something they could do!  

Music and Its Industry: Part Five

Next on our list was TV Themes. March, 2010.

Of course, all done with film. Daniel Goldmark made this show a powerhouse with his sharing of knowledge about this genre. And I got to speak in great detail with Charles Fox - who is a major composer in this field. Wish he could have come in from LA for this, but he was already committed a recording session that week. 

When I was in the 8th grade, the show Dallas was huge. I didn't know anything about the show itself, but each week I tuned in just to hear the theme song. It moved me for some reason. The horns were so powerful and the music depicted the large rolling landscape of the homes in Texas during this era. I asked my junior high (that's what we called in back in the day), if we could PALLEEZE play the theme. He said no. He didn't even seem to consider it! It felt like he wasn't listening to my reasons for why we should play it. He might have been paying attention, but I decided right there and then that one day, I would conduct it. March, 2010, I did. It closed the program. Daniel told the audience and the orchestra this story. It was super crazy fun and meaningful for me personally to do it. 

Addams Family, Three Stooges - Mischa Bakaleinikoff Andy Griffith, Dick Van Dyke,Gomer Pyle, U.S.M.C.,I Spy, That Girl, Make Room For Daddy, Mod Squad- Earle Hagen Bewitched - Jack Keller Bonanza Jay Livingston Dallas - Jerrold Immel Deep Space 9 - Dennis McCarthy Desperate Housewives - Danny Elfman Happy Days, Laverne and Shirley, Love American Style, Love Boat, Wide World Of Sports Wonder Woman - Charles Fox Hawaii Five -0 Morton Stevens I Dream Of Jeannie - Hugo Montenegro I Love Lucy - Elliot Daniel Leave It To Beaver- David Kahn Little House On The Prairie - David Rose Lost In Space, Monday Night Football - John Williams MASH - Johnny Mandel Mission Impossible - Lalo Schifrin My Three Sons - Frank DeVol Sanford and Son - Quincy Jones Sex And The City- Douglas Cuomo Six Feet Under - Thomas Newman Star Trek TV Theme - Alexander Courage Star Trek- Next Generation - Jerry Goldsmith Sunset Strip Michael Daugherty Taxi - Bob James The Munsters Jack Marshall Tonight Show with Johnny Carson - Paul Anka Twilight Zone Marius Constant 

Music and Its Industry: Part Four

The NEXT installment was Broadway! Talk about a good ole time. 

CYO performed a collage of some of the biggest Broadway shows of our time. My friend from high school (I went to Interlochen), Adam Pelty has worked in the Broadway industry for years. He has done choreography for the big stages, directed shows, danced and sang in too many to mention. He also taught a few summers at Interlochen (where we reconnected as faculty members). We had talked about doing a show of this type together for years - and now was the hot time to do it. He was teaching at Ithaca College for the season and had access to the entire Musical Theater dept. Woo-Hoo! And the planning began. 

Adam came into Cleveland 6 months before rehearsal began and held auditions for Cleveland area youth to participate in this show. We wanted a local troupe of young singers and dancers as well as the professional level from Ithaca. He spent three days going through a real audition process wit these youth - giving them a true, professional experience of what an audition would be like in NYC. Cool. Right on target with our mission with this series. Then Adam and I started planning what shows we were going to do - and this was so much freaking fun. 

Our list looked like this: 

I Hope I Get It - A Chorus Line - Bill Byers

Aquarius - HAIR - Gait MacDermot 

Jesus Christ Superstar- Andrew Lloyd Weber 

Seasons of Love - Rent - Jonathan Larson 

Ballad of Sweeney Todd - Stephen Sondheim 

Everythings Comin' Up Roses - Gypsy - Jule Styne 

Defying Gravity - Wicked - Steven Schwartz 

A Weekend In The Country - A Little Night Music 

Stephen Sondheim Children Will Listen - 

Into The Woods- Stephen Sondheim I Believe; 

Mama Who Bore Me - Spring Awakening - Duncan Sheik 

New York! New York!- Leonard Bernstein 

Titanic- Maury Yeston 

Too Darn Hot - Kiss Me, Kate - Cole Porter 

One Day More - Les Miserable - Claude-Michel Schönberg 

You Can't Stop The Beat - Hairspray - Marc Shaiman 

We performed all of this as one continuous show. It was held in a hall in a near suburb of Cleveland that was perfect for the show, but the people there were so unbelievably crappy to us. I have my thoughts on why these two women thought it necessary to spend their energy this way, and it's too bad because it’s a nice space. We are crazy nice people, but they were so mean that it brought me to tears a few times. BAH HUM BUG. 

The CYO Members were not aware of the negative energy they were trying to throw at us as Adam and I as well as our GM, Kate, shielded them from it. And...onwards. 

The show was one of the most exhilarating performances ever. The purpose behind this one for the CYO Members was to give them the opportunity to see what it is like to play in a pit. But we are too big (115 members) to fit in any pit that I know of. So the strings were on the floor right on front of the stage, the woodwinds were to my left on stage and the brass to my right on stage. percussion was in the back facing the audience. The singers and dancers were center stage; as they would be in a professional Broadway show. 

Adam had been trying to talk me into SINGING and DANCING during the encore (which was You Cant Stop The Beat from Hairspray). He was trying for days and there was NO way I was going to do it. So I did it. HAHAHHAHAHAHAHHAHAHAHAAA. It was more fun than I had ever imagined and the kids and the audience thought it was a hoot. I left the podium and ran backstage and did my thing. The orchestra held its own for those few minutes (because they are badass). 

My singing - it was ok...my dancing...fun and the choreography Adam gave us a bit sexy... good time? Time of my life. 

Music and Its Industry: Part Three

Next was Movie Night. March 2008. OH MY GOD we got Mark Mothersbaugh to come in and hang out with us. Mark, his wife Anita and his arranger Christopher Guardino all flew in from LA to be our guests at Movie Night. (!!!) We performed music from Psycho, King Kong 1933, Spiderman, and a ton of Mark's music: the soundtracks from Life Aquatic and The Royal Tenenbaums. Like Mark, his music is fascinating and unique. His use of acoustic instruments and computerized sounds makes it stand out from the crowd. 

The difficulty in this process was to make the orchestra sound that unique - the musicians were using techniques in their playing, embouchure's, bowing, style on the fingerboard. This was a bigger challenge than we realized, but went for it without our seatbelts on! That weekend, Cleveland saw the biggest snow storm of our lifetimes. Starting on Friday night, March 7, 2008, snow started falling by the bucket load. By Saturday morning, we had 3 feet of snow and the city shut down. Literally shut down. And the snow kept falling. Cleveland State and the rest of the city was closed. I am a Michigan girl, so snow is no biggie to me. In fact, I really like it. I drive a Subaru, own lots of boots, would not buy a house without a wood-burning fireplace, have been skiing since I was 3, and I actually get excited at the thought of being snowed in. But this was deeply sad to me as the show was canceled. Bah. Cleveland has the equipment necessary to plow streets quickly and salt the roads...but this time the snow came too fast and too heavy. 

Cleveland Blizzard of 2008

Cleveland Blizzard of 2008

That Friday night, Philip (my then boyfriend and now fiance), Mark, Anita, Christopher and Tom Welsh (director of music and the Cleveland Museum of Art) and I decided not to stay in. As I mentioned, I drive a Subaru, and those cars can get through anything. We picked them up (we were piled high) and went to the Velvet Tango Room. A cool little sexy bar that sits in between Tremont and Ohio City. (two neighborhoods on the near west side of Cleveland). We were the only people in the place, besides the bartender. We were there drinking, laughing, singing, talking until 4am. It was warm and lovely, red lights, dark wood, fancy drinks, pretty plates of food and comedy that you just cannot pay for. It was one of the best nights ever. 

By Saturday afternoon, the snow stopped and the city was covered with 4 feet of snow. The weather forecast said the snow was done, so the mass clean up began. CYO had rented a screen that was temporarily installed in Waetjen Auditorium, we had put in lighting (so the audience could see the screen and the musicians could see the music) and had prepared a huge show! The forces of CYO got cooking on Saturday afternoon and we reschedule the concert for Sunday evening, March 9. CSU was open, Mark, Anita and Chris changed their flights to Monday, and we made all the necessary phone calls, newspapers, internet, radio and TV announcements that we could. 

The CYO Musicians showed up on Sunday afternoon and we rehearsed (for the first time, since our Friday evening and Saturday morning rehearsals were canceled) with the film. Two hours before the show. Right.

Well - of course they did it. We had a big audience (I would say 80% came, which is great!). 

Music and Its Industry: Part Two

Tunes for 'Toons was our first installment. We studied the music of cartoons starting as early as Krazy Kat (1920's) and included 'toons (to name a few) Gerald McBoing Boing, The Flintstones, Jetsons, Animaniacs, Freakazoid, the Simpsons, Jonny Quest and a classic Tom and Jerry kitchen chase. We did all of this with film - so timing and precision was everything. Two Emmy-Award winning cartoon composers, Julie and Steve Bernstein were our guests. They write music for several of the new cartoons and were there to talk about the responsibilities of playing and writing for this genre. They explained the 'click track', which in a studio setting, is clicking in 'in ear monitors' for the conductor and the musicians. That way, the beat is consistently in the ears of the people playing. You may be thinking (as I was) why this needs to happen. Well, the tempos change every few bars, or every bar, or inside of each bar. The conductor needs to be knowledgeable before the session of where the changes are, but only to assist the players. They have to be technically proficient enough to not only read the music down, and hopefully in the first session, but also be able to change tempo instantly. This may not seem like such a big deal. So, you change tempo, right? Take a listen to a cartoon soundtrack. The strings and winds are playing running 16th notes constantly, (quick movements on the screen, intensity, waves, wind) the brass and percussion are playing effects like grand motions and surprises and kabooms! When tempos change while one is playing fast moving notes, the technical requirements become more even more demanding. 

CYO did this first installment without click tracks. It was easier since we were not recording for the actual cartoon - but we still had the responsibility to play the music exactly where it needed to be placed. Picture Tom chasing Jerry down a flight of stairs, Jerry running though the swinging kitchen door and Tom falling down the last few stairs hitting the wall and the floor. If we do not place the sound (perhaps a drum and low strings and low brass playing a 'hit'), then the effect would not be the same. 

Check out this video - this is what CYO performed with cartoon. Music by Julie and Steve Bernstein. 

Music and Its Industry: Part One

Our original series, "Music and Its Industry" was founded in 2007. The purpose of this series is to expose the members in CYO to the different potential professions they can have in the industry, and to allow the musicians and our audience to see how effective and necessary music is in media.

Dr. Daniel Goldmark is a professor of music at Case Western Reserve University in Cleveland specializing in American Popular Music, Film and Cartoon Music. He is our academic support, MC and all around super fun collaborator with this project. He speaks to the audience at each concert, and is the author and or editor of books including Happy Harmonies: Music and the Hollywood Animated Cartoon; The Cartoon Music Book (A Cappella, 2001), Beyond the Soundtrack: Representing Music in Cinema (California, 2007), and Funny Pictures: Animation and Comedy in Studio-Era Hollywood (California, 2011). His monograph, Tunes for ‘Toons: Music and the Hollywood Cartoon, was published in 2005. 

In addition to the rehearsal process and concerts, Contemporary Youth Orchestra works with Young Audiences in this series. We invited them to join us so that workshops could be held in the Cleveland and Lorain Public Schools based on each installment. We want to educate as many children as possible through language and other applied learning foundations through the arts. 

Check out Young Audiences of Northeast Ohio's Facebook Page (click here). 

 

How Contemporary Youth Orchestra Came to Be

Hi to anyone who is reading! This is my first blog - ever. 

I have always found it interesting to read blogs, whether they be people I know, or who are writing about things I am interested in, and sometimes just random blogs to hear the thoughts that are running through others minds. I suppose I will start this new portion of my life by sharing the daily (or weekly) journey of running the only youth orchestra in the country dedicated to new music. 

CYO is my love child. 

Liza Grossman conducting Styx in 2006.

Liza Grossman conducting Styx in 2006.

When I was in my 20's (in 1993), I was directing a small ensemble at a local music school (Cleveland) and finishing my undergrad in Music Ed and Music Performance at Cleveland State University. (I am a violinist turned violist that same year). At the time, Ed London was the director of the Cleveland Chamber Symphony - a new music ensemble in which I was fascinated. He was holding a music conference for music teachers on how children could access contemporary music. I was excited about attending, as Bernard Rands, the Pulitzer Prize winning composer, composer in residence with the Philadelphia Orchestra (at the time) and composition professor at Harvard was the featured guest. 

WOW! Ed London approached me and asked if my little orchestra (of 40 children) could be the demonstrating group for one of the pieces. AHHH! Are you serious?! After I picked my jaw up from the ground and stopped jumping up and down, Dr. London handed me the score and parts from Bernard Rands - his piece 'Agenda for Young Players'. 

Well, the piece was notated in a format which I had never seen. It was graphs and squiggly lines. What? So - I did nothing with it. I looked at it pondering how to approach it with the orchestra, but decided to wait until Bernard came so I could ask him how to read this notation. When he got here (SO excited to meet him), I sat down with him and told him I was confused. He spent some time with me, explained it, I understood and rehearsed the orchestra twice for this conference. 

Now its the demonstration day. My little group is on stage at Cleveland State University (where CYO is now in residence) on the big stage. The audience is filled with teachers and new music supporters and enthusiasts. I am backstage with Bernard and he says to me, 'you conduct the piece and I will explain it to the audience'. Again...'WHAT?' 

I went out with him, and the two of us ran that portion of the program. It was exhilarating! At the reception, Bernard pulled me aside, looked me in the eyes and said 'You have a unique ability to hear and teach this kind of music. I think you should start a youth orchestra dedicated to new music'. Excuse me? He must be kidding. I mean, as much as I dug being a part of this energy, I didn't know anything about new music. PLUS I was just positive that I was going to direct the youth orchestra at this small local school forever! I was happy and had success with the students - I felt good about the education I was able to give them,  and was very comfortable with what was happening. 

His words continued to resonate in my head for the following year. I started programming music that was a little outside the box and realized that I was stronger, happier, felt my conducting was stronger and my brain was working with more capacity when doing music that was not 'standard'. I loved it. The school admin was changing and it became clear to me that it was time to boogie. 

During the 1994-95 school year, I started the planning process for CYO. I asked a colleague of mine to join me with this endeavor - and he wasn't keen on the idea. I should have known then not to push him to join me, but I did anyway. Looking back, I was nervous to do it on my own; but was really on my own anyway. (He left after a few years due to differences in our philosophies - so it worked out in the end).

So - start a youth orchestra? Not only START a youth orchestra, but one that ONLY does contemporary rep? Was I crazy? No - just young and naive enough to not be daunted by it. I invested my life savings ($400), plus asked a few parents to help me financially (these three families are still involved in CYO!) I called all of the students that I knew and asked them to please join and be a part of this orchestra for just one year. PLEASE! 

However, I had to come up with a name for this new orchestra. Wow. It’s like naming a baby. That name will help to identify this being forever. HUGE responsibility - but oh so much fun! I named my love child the obvious name - the Contemporary Youth Orchestra. CYO began in September of 1995 with 35 daring young musicians. 

Now in season 17, CYO is a massive music entity. We have a dedicated, amazing group of people who are on the Board of Trustees, an impressive list on the Advisory Board, hundreds of supporters, a General Manager who is deeply dedicated and filled with non-stop energy and ideas, local musicians who continue to share their talent and time, a graphic designer who is able to show our mission with each concert through art, a Grammy Award winning sound and recording engineer, a videographer who has grown with CYO from the beginning and always finds the cool angles, an artistic and unique lighting designer, a University that has us in residence,  and the most important part - 120 of the area’s top musicians, ages 13 - 18. What I mean my 'top' is that they all (and I mean ALL), have boundless passion, energy, dedication, love and spirit for creating. They are the true heart and soul of this powerhouse known as CYO. 

We are about the musicians, the music and reaching our audiences while challenging everyone to expand their artistic reaches! There is so much more to share! 

I will continue to share stories about this unique educational wonder, located humbly in Cleveland, Ohio. 

Click here to check out our website. 

From the podium of the Contemporary Youth Orchestra, the future sounds great! AMO CYO! 

Peace,                                                                                                                                 

Liza