ProMusica | Jan - May 2022 Program Book by ProMusica Chamber Orchestra

C H A M B E R

O H I O P R O M U S I C A

O R C H E S T R A

C O L U M B U S ,

2021-22 SEASON

Excellence The COR Group proudly supports the ProMusica Chamber Orchestra The COR Investment Group UBS Financial Services Inc. 5007 Horizons Drive, Columbus, OH 43220 614-460-6552 800-421-6172 Brent G. Coakley, CFP® Senior Vice President–Wealth Management Thomas P. Reusser, CFP® Senior Vice President–Wealth Management Frank Courtney Senior Vice President–Wealth Management

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CEO Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Music Director Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creative Partner & Principal Guest Artist Biography . . . . . . . . . . . . . . . . . . . . . . . . . . Important Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Orchestra Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Boards and Administration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mendelssohn & Beethoven Biographies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About the Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Classically Modern Composer/Performer Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Biography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About the Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mendelssohn’s Italian Biography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About the Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Meet the Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Financial Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Season support Season partners ProMusica Chamber Orchestra 620 East Broad Street – Suite 300, Columbus, OH 43215 614.464.0066 • www.promusicacolumbus.org Program Design:

Orchestra & Musician photos:

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Tom Battenberg & Helen Liebman Chair

Chief Executive Officer Dear Friends:

It has been twenty months since we were together for a full season of live music at the Southern Theatre. Indeed, we have navigated a very strange and complex year and a half – but we have emerged stronger than ever! Together, we experienced tremendous creativity, innovation, and deepening of friendships with all of you, and we are grateful. And now, it is with immense joy to welcome you to our 2021-22 season! This year, we celebrate our quintessential mix of the contemporary and cherished classics. Continuing our commitment to championing new works, we will perform the world premiere of our 68th commission, a double concerto from composer/cellist Joshua Roman. The Fives served as a wonderful host to us last year and we are thrilled to establish a new 3-part chamber music series, presented there later in the season. We welcome a remarkable roster of guest artists and rising and diverse young talents, featured alongside our own brilliant musicians. Our 43rd season will not be short on variety! Finally, THANK YOU — for your warm and generous support during a very difficult time. From sudden lockdown, to our reimagined “Season of Festivals” performances at The Fives, to our digital concert series, to now our very emotional first moments back onstage at the Southern Theatre. Thank you for your encouragement, for staying with us, and for inspiring us to keep playing. We look forward to sharing many transformative musical moments, and connectedness to one another. Warmest Wishes,

Janet Chen

Chief Executive Officer

Born in America and raised in Taiwan, Janet Chen has led an active and diverse career as a performing musician, arts administrator, and music educator. She holds both a bachelor's degree from the Oberlin Conservatory of Music, and a master's degree in flute performance from the University of Cincinnati College-Conservatory of Music. She completed the Executive Program for Nonprofit Leaders in the Arts — a joint program of the Stanford Graduate School of Business and National Arts Strategies. In 2019, Janet was named Chief Executive Officer of ProMusica Chamber Orchestra, having previously led the organization as Executive Director since 2006. In 2018, she was one of ten members representing Columbus at the Young American Leaders Program at the Harvard Business School. She has been selected as one of Columbus Business First’s “Forty Under 40”, and one of “19 NonProfit Innovators” by CityPulse Columbus. Janet has been featured in Columbus CEO Magazine, The Columbus Dispatch, and is a selected artist as part of Columbus, Ohio’s “Columbus Makes Art” marketing campaign. Most recently, she was named a 2021 honoree by the Women for Economic and Leadership Development (WELD). In 2018 she was recognized as a YWCA Columbus Woman of Achievement and honored by Business First as one of the “Most Admired Executives in Central Ohio.” Janet serves on the Board of the Columbus Music Commission and is a member of the Columbus Cultural Leadership Consortium. Prior to joining ProMusica, Janet served as Assistant Principal Flute with the Taipei Symphony Orchestra in Taipei, Taiwan and appeared as guest soloist several times performing Nielsen’s Flute Concerto and Mozart’s Concerto for Flute and Harp. Janet also spent two summers as a flute instructor at the Interlochen Center for the Arts in Michigan, where she coached and taught students who attended the Interlochen Summer Arts Camp. 2 0 2 1 - 2 2 S E A S O N | promusicacolumbus.org 4

Photo: Shellee Fisher Photography & Design for WELD

From the

Photo: Rick Buchanan Photography

The Elizabeth M. Ross Music Director

David Danzmayr

“ The performance was an unmitigated triumph.” Michael Tumelty, The Herald

“Extremely good, concise, clear, incisive and expressive” writes The Herald of David Danzmayr, who is widely regarded as one of the most talented and exciting European conductors of his generation. Following on a very successful tenure as Chief Conductor of the Zagreb Philharmonic Orchestra, Danzmayr was appointed Conductor Laureate, the youngest ever to hold this title in the orchestra´s history. Performing regularly to sold-out audiences in Zagreb´s Lisinski Hall and having been awarded the Zagreb City Award, Danzmayr and his orchestra also repeatedly toured to the Salzburg Festspielhaus, where they received standing ovations performing the prestigious New Year’s concert, and to the Wiener Musikverein. Danzmayr serves as Music Director of the creative and unique ProMusica Chamber Orchestra, an orchestra comprised of musicians from all over the United States. Here, he regularly commissions worldrenowned composer/performers to appear in the first performances of their works alongside the great classics, a mission that extends the creative spirit of classical music and places the core repertoire in a modern context. In February 2021, David was announced as the new Music Director of the Oregon Symphony. Previously David Danzmayr served as Music Director of the Illinois Philharmonic Orchestra in Chicago, where he was lauded regularly by both the Chicago Tribune and Chicago Classical Review for his performances. He was also the only conductor in the Chicago area, who programmed a piece of American music at every concert. David has won prizes at some of the world´s most prestigious conducting competitions including a 2nd prize at the International Gustav Mahler Conducting Competition and prizes at the International Malko Conducting Competition. For his extraordinary success, he has been awarded the Bernhard Paumgartner Medal by the Internationale Stiftung Mozarteum.

Building these early successes into a far-reaching international career, Danzmayr has quickly become a sought-after guest conductor for orchestras around the globe, having worked in Europe with the Deutsche Kammerphilharmonie Bremen, Vienna Radio, Stuttgart Radio, City of Birmingham, Hamburg, Basel, Bamberg, Odense, and Iceland symphonies, as well as Essener Philharmoniker, Bruckner Orchester, Mozarteum Orchester, Swedish Chamber Orchestra and others. In North America, his talents have propelled him to the finest of U.S. and Canadian orchestras in a very short time, where he has already conducted the likes of the Minnesota Orchestra, the Detroit, Houston, Oregon, Milwaukee, Utah, Vancouver, San Diego, Colorado, North Carolina, Pacific, New Jersey, and Indianapolis symphonies, the Los Angeles Chamber Orchestra and Grant Park Festival just to name a few. Besides numerous reinvitations, he will make major debuts this season with the Baltimore Symphony, San Antonio Symphony, Virginia Symphony, the Rochester Philharmonic and the BBC Orchestra of Wales. He has served as Assistant Conductor of the Royal Scottish National Orchestra, which he conducted in more than 70 concerts so far, performing in all the major Scottish concert halls and the prestigious, Orkney based, St Magnus Festival. David Danzmayr received his musical training at the University Mozarteum in Salzburg where, after initially studying piano, he went on to study conducting in the class of Dennis Russell Davies. Danzmayr was strongly influenced by Pierre Boulez and Claudio Abbado in his time as conducting stipendiate of the Gustav Mahler Youth Orchestra and by Leif Segerstam during his additional studies in the conducting class of the Sibelius Academy. Subsequently, he gained significant experience as assistant to Neeme Järvi, Stephane Deneve, Carlos Kalmar, Sir Andrew Davis, and Pierre Boulez, who entrusted Danzmayr with the preparatory rehearsals for his music.

“Clearly Danzmayr has what it takes.” –John von Rhein, Chicago Tribune

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Photo: Marco Borggreve

Creative Partner & Principal Guest Artist

Vadim Gluzman

Universally recognized among today’s top performing artists, Vadim Gluzman breathes new life and passion into the golden era of the 19th and 20th centuries’ violin tradition. Gluzman's wide repertoire embraces new music, and his performances are heard around the world through live broadcasts and a striking catalogue of award-winning recordings exclusively for the BIS label. Accolades for his extensive discography include the Diapason d'Or of the Year, Gramophone's Editor's Choice, Classica magazine's Choc de Classica award, and Disc of the Month honors from The Strad, BBC Music Magazine, and ClassicFM.

Highlights of the current season include performances with Orchestre Philharmonique de Radio France and Vassily Petrenko, NHK Symphony Orchestra under Tugan Sokhiev, Staatskapelle Dresden with Omer Meir Wellber, Gothenburg Symphony and Santtu-Matias Rouvali, Bamberg Symphony under Mikko Frank as well as Utah, Kansas City and Detroit Symphonies, Stuttgart Philharmonic, KBS Symphony and the Danish Radio Orchestra among others. Mr. Gluzman also leads performances with the Moscow Virtuosi Chamber Orchestra, Franz Liszt Chamber Orchestra and the ProMusica Chamber Orchestra, where he serves as a Creative Partner and Principal Guest Artist. Gluzman has premiered works by Sofia Gubaidulina, Moritz Eggert, Giya Kancheli, Elena Firsova, Pēteris Vasks, Michael Daugherty and Lera Auerbach. In the upcoming seasons he will introduce new violin concertos by Erkki-Sven Tüür and Joshua Roman. Distinguished Artist in Residence at the Peabody Conservatory in Baltimore, Gluzman plays the legendary 1690 ‘ex-Leopold Auer’ Stradivari on extended loan to him through the generosity of the Stradivari Society of Chicago.

The Israeli violinist appears with world’s leading orchestras and conductors, including performances with Tugan Sokhiev and the Berlin Philharmonic, Boston and Chicago Symphony and Orchestre de Paris; Riccardo Chailly with the Royal Concertgebouw Orchestra and the Gewandhaus Orchestra, as well as with the Cleveland Orchestra under the batons of Hannu Lintu and Michail Jurowski. He appears at Ravinia, Tanglewood, Grant Park, Colmar and the North Shore Chamber Music Festival, which he founded in 2011.

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Important Information Latecomers will not be seated until the first convenient pause in the program. Cell Phones, Pagers, and Signal Watches should be turned off prior to the performance. Cameras and recording devices may not be used in the theatre without prior authorization from ProMusica. Concessions are available inside the front doors to the left. An ATM machine is located in the Westin Columbus hotel lobby, adjacent to the theatre. Restrooms are located at the top of the stairs, men’s on the left and women’s on the right. Handicap accessible restrooms are at the back of the main floor seating. Special Needs Services are available. Please ask an usher for assistance. Assisted Listening Devices for sound amplification are available upon request at the concession area. ProMusica can provide the following services with a minimum of four weeks notice prior to the concert date: • C oncert guides in Braille or large print, an audio recording in program order, program notes and guest artists biographies. • A sign language interpreter to interpret any vocal music that might be part of the program.

TICKETS OR ADDITIONAL INFORMATION Ticket Exchanges are only available to season subscribers. Returned tickets qualify as a tax-deductible gift to ProMusica but must be returned no later than the Thursday prior to the concert. Call ProMusica at 614.464.0066 or return tickets by mail. Discounted Group Rates are available. Call 614.464.0066 for pricing and additional information. Student Tickets are available for $11 through the ProMusica office. To purchase tickets or for additional information, call 614.464.0066, visit www.promusicacolumbus.org, or stop by the ProMusica office from 9:00am-5:00pm, Monday-Friday, 620 East Broad Street, Suite 300.

OUR MISSION

To deliver a world-class chamber

About the Orchestra ProMusica and our 37 musicians are redefining what it means to be a chamber orchestra. For four decades, ProMusica’s programs have honored the classics and celebrated the contemporary through world-class performances and creative approaches to musical storytelling. Led by Music Director David Danzmayr and Creative Partner Vadim Gluzman, renowned violinist, the orchestra reaches a broad audience across the city—as the resident orchestra at the intimate Southern Theatre in downtown Columbus, and at notable venues beyond the I-270 outer belt. In 2017, ProMusica made its Chicago debut performing for a sold-out crowd at the North Shore Chamber Music Festival. We embrace an array of eras and influences—as masters of classical works, champions of bold new commissions and innovators of crossover collaborations, ProMusica’s performances are time-tested and modern, presented in ways that few orchestras can. We are widely recognized as

orchestra experience through: Innovative programming, Audience intimacy, Exceptional talent & Artistic excellence

a national leader in promoting contemporary repertoire— with 68 commissions and more than 120 world and regional premieres by composers including Pulitzer Prize winners Kevin Puts and Aaron Jay Kernis, Gabriela Montero, Michael Daugherty, Lera Auerbach, Conrad Tao and Joshua Roman. In addition, ProMusica has an active recording program with 13 CDs released to date. This is a testament to the world-class musicians on stage who thrive on artistic exploration and risk-taking—performing with the highest skill, emotion and humanity for our audiences. Deeply rooted in our city’s cultural fabric, ProMusica’s community outreach programs impact approximately 17,000 lives each season. Musicians travel to local schools, senior citizens attend live rehearsals, and underserved youth are given life-changing opportunities with the power of music. Programs such as “Play Us Forward” offer an integrated, in-school curriculum, while family concerts at Columbus Metropolitan Library branches provide arts access in nurturing neighborhood environments. “Coda: Post-Concert Conversations” give the opportunity for a direct dialogue between audiences and guest artists— deepening engagement with the music and performers. Our annual Summer Music Series at Franklin Park Conservatory & Botanical Gardens is free and open to the public, demonstrating our unwavering commitment to offer accessible and transformative performances to all residents in our community. ProMusica is a truly personal arts experience, one that’s full of surprise and delight and belonging. ProMusica is more than an orchestra. It’s a movement. And we’re thrilled you’ve chosen to be a part of it tonight.

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Our commitment to the arts We are proud to support the ProMusica Chamber Orchestra. When superb professionals work in concert, amazing things happen. bakerlaw.com

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D AV I D D A N Z M AY R THE ELIZABETH M. ROSS MUSIC DIRECTOR

VIOLINS Katherine McLin, concertmaster The Donald G. Dunn Chair Rebecca Willie, assistant concertmaster The Joan M. Herbers Chair Jennifer Ross, principal second The Brachman Smith Family Chair **Amy Cave* The Randy & Marilyn Miller Chair Eric Kline The Jim & Ida Copenhaver Ginter Chair Heather Kufchak The Deborah Raita Chair Solomon Liang The Laurie & Thomas W. Hill Chair William Manley The Fran Luckoff Chair Victoria Moreira The Dyann & E. Joel Wesp Chair Koko Watanabe* The Elizabeth Williams Chair VIOLAS Mary Harris, principal The Margaret & Jerome Cunningham Chair **Brett Allen The Keith F. & Katherine B. Dufrane Trust Chair Stephen Goist The Regie & David Powell Chair Michael Isaac Strauss The Anne Powell Riley Chair VIOLONCELLOS Marc Moskovitz, principal The Barbara Trueman Chair **Joel Becktell The Donna K. Laidlaw Chair Nat Chaitkin The William K. Laidlaw Chair Cora Kuyvenhoven T he Bob & Mary Frances Restrepo Chair BASSES John Pellegrino, principal The John F. Brownley Chair Patrick Bilanchone The Kathryn D. Sullivan Chair

FLUTES Nadine Hur, principal The Dana Navin Schultz Chair Anthony Trionfo+ The Miriam & Bernard Yenkin Chair OBOES Donna Conaty, principal The Lee Shackelford Chair Jessica Smithorn The Artie & Alisa Isaac Chair CLARINETS Ilya Shterenberg, principal T he Beth Grimes-Flood & Tom Flood Chair Jennifer Magistrelli The Jack & Betsy Farrar Chair BASSOONS Ellen Connors, principal The Loann W. Crane Chair Rachael Young The Carolyn Merry & Bob Redfield Chair HORNS Stephanie Blaha, principal The Todd S. Swatsler Chair Meghan Guegold+ The Denise & Barry Blank Chair TRUMPETS Vacant, principal The Susan L. Quintenz Chair Timothy Leasure* The William & Wendy Faust Chair TIMPANI & PERCUSSION Renee Keller, principal The Michael & Jody Croley Jones Chair Rajesh Prasad The Bob Redfield & Mary Yerina Chair HARP Jeanne Norton, principal The Sustaining Board Chair HARPSICHORD Aya Hamada, principal The ProMusica Board Chair in memory of Ida Copenhaver

ASSISTING MUSICIANS Amy Guitry flute John Kriewall bassoon Megan Amos horn Denise Tryon horn Kelsey Williams horn Stephen Campbell trumpet Mark Grisez trumpet Maximilian Morel trumpet Ansel Norris trumpet Marcin Arendt violin Vladimir Gebe violin Kirstin Greenlaw violin Ling Ling Huang violin Elizabeth Huffman violin Shannon Thomas violin Esther Nahm viola Amanda Grimm viola Yael Senamaud viola Boris Astafiev bass James Karrer bass Jeremy McCoy bass ORCHESTRA MANAGER Mariana Szalaj The Regie & David Powell Chair ** Begins the alphabetical listing of string players who participate in a system of rotated seating. *On leave for the 2021-22 season +One year appointment

The Musicians of the ProMusica Chamber Orchestra are members of, and represented by, the Central Ohio Federation of Musicians, Local of Musicians. 2 0103 2 1 -of 2 2the S EAmerican A S O N |Federation promusicacolumbus.org

WISHING YOU A FANTASTIC SEASON, PROMUSICA!

Board of Trustees and Administration OFFICERS President William Faust, Ologie President-Elect Matthew Fornshell, Ice Miller LLP Vice-President Patricio Garavito, Cardinal Health Vice-President Susan Lubow, BakerHostetler Vice-President Kathryn Sullivan, Astronaut & Civic Leader Treasurer Elizabeth Turrell Farrar, V orys, Sater, Seymour & Pease LLP Secretary Bob Redfield, Civic Leader TRUSTEES Maceo Bates, PNC Bank +Lavea Brachman, Brookings Institution +Ryan Crowley, Citi Lynn Elliott, Columbus Window Cleaning Adam Ferguson, Huntington Bank Joan Herbers, The Ohio State University Laurie Hill, Civic Leader Dave Humeston, CoverMyMeds Brent Jackson, Fifth Third Bank +Stephen Keyes, Abercrombie & Fitch Nichole Marshall, Pinterest Bill McDonough Elizabeth Moyo, Porter, Wright, Morris & Arthur LLP Jessica Mrowzinski, Worthington Industries John Pellegrino, ProMusica Musician Representative Susan Quintenz, Civic Leader Julie A. Rutter, American Electric Power Lee Shackelford, Physician Mark Sholl, Hilliard City Schools +Todd Swatsler, Partner (retired), Jones Day Sergio Tostado, Jones Day EX-OFFICIO Janet Chen, Chief Executive Officer The Tom Battenberg & Helen Liebman Chair David Danzmayr, Music Director The Elizabeth M. Ross Music Director Betty Giammar, Sustaining Board Representative

ADMINISTRATION Janet Chen

Chief Executive Officer T he Tom Battenberg & Helen Liebman Chair David Danzmayr Music Director The Elizabeth M. Ross Music Director Vadim Gluzman Creative Partner & Principal Guest Artist Yvette Boyer Finance Manager Carolyn Jakubczak Ticketing & Patron Services Manager Suzanne Jennison Operations Assistant Ann Kriewall D irector of Education & Community Engagement Matthew Kurk D irector of Advancement & Engagement Brittany Lockman Director of Marketing Mariana Szalaj Director of Orchestra Operations The Regie & David Powell Chair Margaret Wells Executive Assistant & Board Liaison TRUSTEES CIRCLE Artie Isaac, Chair Deborah Anderson Tom Battenberg Milt Baughman Mark Corna Peter Costanza Patt DeRousie James Elliott Beverley Ervine Jim Ginter Melissa Ingwersen

Suzanne Karpus Donna Laidlaw Boyce Lancaster Dr. Wayne Lawson Mary Lazarus Peggy Lazarus Nancy Marzella Dr. William Mitchell Elizabeth Williams Bernie Yenkin

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Together, we build communities. With gratitude to our partner Matthew Fornshell for his board service, Ice Miller is proud to support ProMusica Chamber Orchestra and its commitment to the Columbus community through the power of music. Our law firm supports more than 100 non-profit organizations throughout our region.

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300+ lawyers in Columbus & other offices

Sustaining Board Since 1988, members of the ProMusica Sustaining Board have volunteered to raise community awareness and funds for the orchestra. Our membership and events help sustain ProMusica’s artistic and education programs. Annual membership dues are $50 (Musician), $125 (Principal) and $200 (Concertmaster). Join us and be part of this legacy! EXECUTIVE COMMITTEE Betty Giammar President Sally Baughman Vice-President Marquell Segelken Secretary Michael Maggard Treasurer PAST PRESIDENT ADVISORS Claudia Abrams Yvonne Burry Donna Laidlaw Mary Yerina APPOINTMENTS Mary Oellermann, Laurie Schmidt-Moats, and Stephanie Stephenson Culinary Capers XXVIII Melissa Schmidt Historian Mary Faure, Lisa Maggard, and Judy Michaelson Marketing Richard Burry, Donna Cavell, Jennifer Markovich, and Bob Redfield Membership Lisa Maggard Newsletter

Yvonne Burry Nominating Marianne Mottley Special Events Rose Hume Sunshine MEMBERS-AT-LARGE Beverley Ervine Paul George Boyce Lancaster Barry Liss Thom O’Reilly Lee Shackelford Dyann Wesp CONCERTMASTER MEMBERS Anonymous Claudia Abrams Sally Baughman Richard Burry Yvonne Heather Burry Sandy Byers Maggie Cunningham Harriet Donaldson Ellen Kay Douglas Beverley Ervine Ellen George* Betty Giammar Beth Grimes-Flood Laurie Hill Steven Hillyer Jody Croley Jones Michael Jones Donna Laidlaw Boyce Lancaster

Mary Lazarus Barry Liss Lisa Maggard Jennifer Markovich Deborah Norris Matthews Judy Michaelson Marianne Mottley Larry Neal Mary Oellermann Thomas O’Reilly Dorothy Pritchard Susan Quintenz Deb Raita* Bob Redfield Melissa Schmidt Laurie Schmidt-Moats Lee Shackelford Sallie Sherman Stephanie Stephenson Elizabeth Williams Robert Wing Miriam Yenkin Mary Yerina PRINCIPAL MEMBERS Nancy Brownell Donna Cavell Janet Chen Marilee Chinnici-Zuercher Elizabeth Turrell Farrar Marion Fisher Rose Hume Andrew Maggard Nancy Marzella* Marybeth McDonald Susan McDonough Jane McMaster

Contact the Sustaining Board at sustainingboard@promusicacolumbus.org. promusicacolumbus.org/sustainingboard 2 0 2 1 - 2 2 S E A S O N | promusicacolumbus.org

Hugh Schultz Gail Walter Dyann Wesp Margie Williams Serie Zimmerman MUSICIAN MEMBERS Ellen Bowden Lindsey Dunleavy Lynn Elliott Mary Faure Paul George Barbara Goettler* Sue Gross Elayne Gunder Jessica Kim Linda Kurtz Kathy Ludlam* Cindy Mackin* Michael Maggard Anne Powell Riley Elizabeth Sawyers Marquell Segelken Becky Wright* * New or returning member

A perpetual membership has been established for Jennifer M. Keefer (1969-2003), former Executive Director of the ProMusica Chamber Orchestra

For more information about the Ohio Arts Council’s grants, programs, resources, and events, visit oac.ohio.gov.

January Featured Artist

Spencer Myer Lauded for “superb playing” and “poised, alert musicianship” by The Boston Globe and labeled “definitely a man to watch” by London’s The Independent, American pianist Spencer Myer is one of the most respected and sought-after artists on today’s concert stages. Spencer Myer’s current season includes touring throughout the United States, highlighted by a return to ProMusica Chamber Orchestra in Columbus, and a return recital tour in Nova Scotia, Canada. He continues as half of the Daurov/Myer Duo, having teamed up with the awardwinning cellist Adrian Daurov in 2012. Mr. Myer has been appointed Visiting Assistant Professor of Piano at Indiana University Bloomington’s Jacobs School of Music, replacing Arnoldo Cohen, who is on sabbatical for the 2022 spring semester. Spencer Myer’s orchestral, recital and chamber music performances have been heard throughout the United States, Canada, Europe, Africa and Asia. He has been soloist with, among many others, The Cleveland Orchestra, Boise, Dayton, Evansville, Louisiana, Massapequa, Northeastern Pennsylvania and Rhode Island philharmonic orchestras, Pro Arte Chamber Orchestra of Boston, the Altoona, Bangor, Baton Rouge, Bozeman, Canton, Chattanooga, Duluth Superior, Flagstaff, Grand Junction, Indianapolis, Juneau, Knoxville, Longmont, Macon, Missoula, New Haven, Omaha, Phoenix, Ridgefield, San Juan, Santa Fe, Springfield (MA, MO, OH), Traverse, Tucson and Wyoming symphony orchestras, Indianapolis Chamber Orchestra, ProMusica Chamber Orchestra, New York City’s The Park Avenue Chamber Symphony, Canada’s Windsor Symphony Orchestra, Mexico’s Orquesta Filarmónica de Jalisco, South Africa’s Cape Town and Johannesburg philharmonic orchestras and Beijing’s China National Symphony Orchestra, collaborating with, among others, conductors David Bernard, Nicholas Cleobury, Kayoko Dan, David Danzmayr, Robert Franz, Neal Gittleman, Bernhard Gueller, Jacques Lacombe, Jahja Ling, Dirk Meyer, Elliot Moore, Timothy Muffitt, Maurice Peress, Kyle Wiley Pickett, Arthur Post, Kevin Rhodes, Lucas Richman, Matthew Savery, Alfred Savia, Klauspeter Seibel, Steven Smith, Gerald Steichen, Arjan Tien, Peter Stafford Wilson and Victor Yampolsky. His 2005 recital/orchestral tour of South Africa included a performance of the five piano concerti of Beethoven with the Chamber Orchestra of South Africa, followed by six return orchestra and recital tours between 2006 and 2018. Spencer Myer’s recital appearances have been presented in New York City’s Weill Recital Hall, 92nd Street Y and Steinway Hall, Philadelphia’s Kimmel Center and London’s Wigmore Hall, while many of his performances have been broadcast on WQXR (New York City), WHYY (Philadelphia), WCLV (Cleveland) and WFMT (Chicago). An in-demand chamber musician, he appeared for five summers at the Lev Aronson Legacy Festival in Dallas with cellists Lynn Harrell, Ralph Kirshbaum, Amit Peled and Brian Thornton, and enjoys a recurring partnership with the Miami String Quartet at the Kent/Blossom Music Festival. Other artistic partners include clarinetist David Shifrin, Cardiff Singer of the World winner Nicole Cabell, the Jupiter, Manhattan and Pacifica string quartets and the Dorian Wind Quintet. Festival appearances have included those

of the Annapolis Chamber, Bard, Blossom, Cape Cod Chamber, Colorado, Mendocino, Ravinia and Skaneateles music festivals, Canada’s Concerts aux Iles du Bic, Spain’s Gijon International Piano Festival and Valencia International Piano Academy, and Indonesia’s Yogyakarta International Music Festival. Spencer Myer’s career was launched with three important prizes: First Prize in the 2004 UNISA International Piano Competition in South Africa, the 2006 Christel DeHaan Classical Fellowship from the American Pianists Association and the Gold Medal from the 2008 New Orleans International Piano Competition. Additionally, he is a laureate of the 2007 William Kapell, 2005 Cleveland and 2005 Busoni international piano competitions. He also enjoys an expanding reputation as a vocal collaborator since winning the 2000 Marilyn Horne Foundation Competition. Mr. Myer was a member of Astral Artists’ performance roster from 2003-2010. An enthusiastic supporter of the education of young musicians, Spencer Myer has been a frequent guest artist at workshops for students and teachers, and has served on the faculties of the Baldwin-Wallace University and Oberlin College conservatories of music. He is a graduate of the Oberlin Conservatory of Music, The Juilliard School and Stony Brook University. In the fall of 2016, he was appointed Artist-Teacher in Piano and Collaborative Piano at the Longy School of Music of Bard College in Cambridge, Massachusetts. Mr. Myer was the subject of the cover interview in the January/February 2019 issue of The Piano Magazine: Clavier Companion, relating his thoughts on practicing, performing, teaching and mentoring the next generation of pianists. Spencer Myer’s debut CD for harmonia mundi usa - solo music of Busoni, Copland, Debussy and Kohs - was released in the fall of 2007 to critical acclaim by Fanfare and Gramophone magazines. He can also be heard on a composer-conducted Naxos CD in performances of three concerti from Huang Ruo’s Chamber Concerto Cycle and in a performance of Ravel’s Chansons madécasses, included on "Intimate Masterpieces," a 2013 CD featuring faculty and alumni of the Oberlin Conservatory and issued by Oberlin Music. Mr. Myer’s most recent four recordings – "William Bolcom: Piano Rags", the Brahms Cello Sonatas with Brian Thornton, the Debussy Cello Sonata and Brahms Clarinet Trio with Brian Thornton and Afendi Yusuf, and Schumann’s works for cello and piano, with Brian Thornton – are available on the Steinway & Sons label. In the fall of 2020, Spencer Myer was elected to the Board of Directors of the New York City-based Musicians Foundation (est. 1914).

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Spencer Myer is a Steinway Artist. www.spencermyer.com

January Featured Artist

Katherine McLin Violinist Katherine McLin enjoys an extremely varied and prolific performing career as a concerto soloist, recitalist, and chamber and orchestral musician. Since her debut with the Oregon Symphony at the age of fifteen, Katie has made over 100 appearances as soloist with orchestras across the country. In addition to performing the standard canon, she is an enthusiastic advocate of new music and has either premiered or given second performances of concerti by John Adams, Lera Auerbach, Hans Gal, and Joel Puckett. Katie appears on 20 compact disc recordings under the Summit, Centaur, and Opus One labels. Her live and recorded performances have been broadcast on NPR’s Performance Today, NYC’s WQXR, and local television and radio stations throughout the country. As a member of the McLin/Campbell Duo with pianist Andrew Campbell and frequent chamber music collaborator with colleagues around the world, Katie performs extensively throughout the United States and abroad. She serves as a guest artist at numerous summer chamber music festivals, most recently with the Interharmony International Music Festival (Italy), Saarburg Chamber Music Festival (Germany), Chintimini Chamber Music Festival (OR), Red Rocks Music Festival (AZ), and the Orlando Chamber Players at the Festival of the Black Hills (SD). Since 2007, Katie has held the position of Concertmaster of the ProMusica Chamber Orchestra. Previously she served as Concertmaster of the Brevard Music Festival Orchestra, Chattanooga Symphony, Arizona Philharmonic, Michigan Sinfonietta, and the Aspen Sinfonia Orchestra, and Principal Second Violin of the Michigan Opera Theater Orchestra. A committed and passionate teacher, Katie was awarded the Evelyn Smith Professorship in Music at Arizona State University in 2016, a three-year endowed position that recognizes a faculty member who demonstrates outstanding leadership in their field. In 2004 she was awarded the Distinguished Teacher Award for the College of Fine Arts, chosen from over 170 faculty, and was a finalist for the 2007 university-wide ASU Professor of the Year award. Katie received her doctorate in violin performance from the University of Michigan as a student of Paul Kantor. She holds additional performance degrees from Indiana University and the Oberlin College Conservatory, and for three years was an orchestral fellowship recipient at the Aspen Music Festival. Her former teachers include Franco Gulli, Josef Gingold, and Kathleen Winkler. 2 0 2 1 - 2 2 S E A S O N | promusicacolumbus.org

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January Featured Artist

Marc Moskovitz The son of a professional violinist, the musical path of cellist Marc Moskovitz has taken him from North Carolina to Indiana, Berlin, Virginia, Ohio, Boston and finally back to North Carolina. He has held positions at The University of Virginia and The University of Toledo, where he served as associate professor of cello and cellist of the Toledo Trio. In 2001, Marc moved to Boston, where he performed with some of the city’s most venerable music organizations, among them The Boston Pops and The Handel and Haydn Society, both of with which he toured, and the Boston Modern Orchestra Project, with which he frequently recorded. As co-founder and cellist of Montage Music Society, he gave the North American premiere of Zemlinsky’s rediscovered Cello Sonata at the Library of Congress, which the Washington Post called “an impassioned performance.” His recordings include the music of cello virtuosi David Popper and Alfredo Piatti, both on the VAI label, and premiere recordings of music of Franz Reizenstein and Eric Zeisl (ASV). Marc has also performed as a guest of the International Piatti Festival in Bergamo, Italy. In addition to his work as principal cellist of the ProMusica Chamber Orchestra, he performs regularly with the North Carolina Symphony and is founder of the Trinity Park Salon Series, a house music concert series in Durham, NC. A former student of cellists Janos Starker and Gary Hoffman, Marc holds a doctorate and master’s degree from Indiana University and spent one year in Berlin with cellist Wolfgang Boettcher as a Fulbright scholar. A committed scholar, Marc has written on a variety of musical subjects and for various music journals. He is the author of Alexander Zemlinsky: A Lyric Symphony and co-author of Beethoven’s Cello: Five Revolutionary Sonatas and Their World, both published by Boydell & Brewer (UK). In addition to writing the program notes for the ProMusica Chamber Orchestra, Marc has provided program notes for orchestras and opera houses in Germany, Spain and China as well as the U.S, and liner notes for the Melba and Naxos record labels. His entries on historical cellists are found in The New Grove Dictionary of Music and Musicians and his forthcoming book, MEASURE: In Pursuit of Musical Time, will be published in the coming year.

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Mendelssohn & Beethoven Spencer Myer, piano Katherine McLin, violin Marc Moskovitz, cello

Southern Theatre // Saturday, January 22 // 5:30 PM Southern Theatre // Sunday, January 23 // 7:00 PM COLERIDGE-TAYLOR Four Novelletten III. Valse – Andante con moto IV. Allegro molto BEETHOVEN Triple Concerto in C Major, Op. 56 I. Allegro II. Largo III. Rondo alla Polacca S pencer Myer, piano Katherine McLin, violin Marc Moskovitz, cello

Intermission

Intermission lasts 15 minutes MENDELSSOHN

Symphony No. 3 in A Minor, Op. 56 "Scottish" I. Andante con moto – Allegro un poco agitato II. Vivace non troppo III. Adagio IV. Allegro vivacissimo – Allegro maestoso assai

Tonight’s soloists underwritten by the Lee Shackelford Family Fund. Stay for Coda: Post-Concert Conversation. Meet Spencer Myer, Katherine McLin, Marc Moskovitz, and David Danzmayr and learn more about tonight’s program.

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JANUARY: About the Music The Jon Mac Anderson Program Notes underwritten by Porter, Wright, Morris and Arthur, LLP

Samuel Coleridge-Taylor (1875 –1912): Four Novelletten

Instrumentation: Scored for strings and percussion Duration: 15 minutes Named for the poet Samuel Coleridge Taylor, Samuel Coleridge-Taylor was born of an English woman and a Sierra Leone Creole. When young Samuel demonstrated promise as a violinist, his parents arranged for him to study at London’s Royal College of Music, though as a student he switched to composition and worked under the formidable English composer Charles Stanford (an aside: I would particularly encourage you to look into examples of Stanford’s music, which is always fantastic and attractive—a very under-performed composer!). As his reputation grew, no less than Edward Elgar helped the budding composer on his way and Taylor soon embarked on the first of four tours of America, where he was received by President Theodore Roosevelt (a rare even for people of color). Taylor’s time in America, and the fact that his father was a descendent of African-American slaves, inspired him both personally and musically. On account of the struggles that he suffered as a man of color, he both considered immigrating to the United States and believed it his responsibility to help the African-American community gain a sense of dignity. While his musical style remained rooted in the European tradition of his training, he sometimes sought to blend that tradition with the music of his ancestors, not unlike Dvorak whose music Taylor’s sometimes echoes. Unfortunately, early on Taylor failed to secure rights to a number of his most popular compositions, and although he eventually became more worldly wise, he would always struggle financially. He did enjoy a measure of renown during his lifetime, which

even included having a choral society named for him in Washington, D.C., but he didn’t have long to savor his success. Taylor tragically succumbed to pneumonia in England at age 37. The Four Novelletten were a product of 1903 and aptly illustrate the compositional gifts his contemporaries recognized. Rather than reflect his African roots, this music breathes the air of Taylor’s European training through and through. Hints of Tchaikovsky and Berlioz are evident in the first movement, a 3/8 waltz marked Allegro moderato. Whatever the influence, the result reveals a composer capable of charming melodies and the lushest of harmonies, with the triangle and tambourine adding a brilliant sheen. Marked Valse, the third Novelette is an “official” waltz though its character is far removed from the more common festive type just experienced. Perhaps better regarded as a Valse triste (sad waltz) , Taylor calculates for maximum effect, setting his Andante con moto in the doleful key of A minor and handing the solo violin a gracefully falling melody, which he sets over a shimmering tremolo accompaniment. Twice the mournful waltz is interrupted by a festive interlude (piu mosso)—it will be hard to miss the tambourine!—but the triste character will have the final say. Taylor closes with a muscular Allegro molto, driven along by the rhythmic energy established in the lower strings. Taylor’s melodic flair and ever-active and inventive accompanying lines are evident throughout, revealing the solid foundation provided by his teacher Stanford and musical flair that no less Edward Elgar regarded as “genius.”

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Ludwig van Beethoven (1770-1827): Triple Concerto in C Major, Op. 56

Instrumentation: Scored for flute, pairs of oboes, clarinets, bassoons horns and trumpets, timpani and strings Duration: about 36 minutes The year 1804 was one of great upheaval for Ludwig van Beethoven, whose life seemed always filled with tremendous ups and downs — mostly downs. In April of that year his contract with the Theater an der Wien was terminated and along with it the plans to perform his new opera Leonora (read more about his experience at the theater below). He also moved—or was forced—out of his rooms at the theater, where he had been living since the previous year. A month later Napoleon declared himself Emperor and when news of the event reached Vienna, Beethoven flew into a rage and violently scratched out the dedication to Napoleon on the title page of his Eroica Symphony. Matters went from bad to worse in early July when Beethoven had a falling out with one of his closest friends, Stephan Breuning, with whom the composer was then staying. Beethoven again moved out. Though their friendship was soon mended, and the Leonora project was eventually also revived, 1804 was indeed a turbulent year for the composer. In fact, in December he was to encounter Josephine Brunsvik, but that is, as they say, another story… Somehow between the moving, the disappointments and temper tantrums, the cancelled musical plans and the disrupted friendships, Beethoven managed to find the presence of mind to compose, which speaks volumes about his level of concentration. Besides opening sketches for the Fifth Symphony and what would emerge as his Fourth Piano Concerto, Beethoven dispatched another concerto, this one for violin, cello and piano, the so-called “Triple” Concerto. This work is a curious outlier in Beethoven’s oeuvre, for we don’t know precisely why or for whom it was written. The instrumentation too is also curious—any number of concertos had been written by other composers for two or more soloists but never before had a piano trio been staged at the center of such a work. What we do know is that one of his wealthiest patrons, Prince Lobkowitz, not only opened his palace for rehearsals but put his personal orchestra at Beethoven’s disposal. For his efforts, Lobkowitz received the work’s dedication (he would also receive the dedications

of the Eroica, the Fifth and Sixth Symphonies and the Op. 18 String Quartets). The court orchestra counted some of Europe’s most gifted musicians at its head, including its concertmaster Anton Wranitzky and the first cellist, Anton Kraft, both of whom probably took the solo parts in rehearsals of the Triple Concerto; it is nearly certain that Beethoven himself took the piano part and directed rehearsals from the keyboard. The work is crafted in the expected three movements (fast-slow-fast) but it takes some unusual turns. Most obvious is the heightened role of the cello, and at the other extreme, the almost subdued role given to the piano, which is especially curious given Beethoven’s virtuosic piano playing. Anton Schindler, Beethoven’s reliably unreliable biographer, suggested the role was intended for Beethoven’s young student, Joseph Rainer Rudolph, who would mature to become one of the composer’s staunchest supporters, but there is no evidence that Rudolph ever performed the work. On the other hand, Beethoven placed one of Europe’s greatest cellists, Anton Kraft, at the helm, and honored him with the introduction of most of the concerto’s melodic material. This is already evident at the outset, with the cellist’s presentation of the opening theme, which gains a certain nobility on account of its dotted rhythms. The C major first movement Allegro is a broad and largely lyrical affair, and although the development features a turbulent exchange among the soloists, Beethoven seems intent on taking advantage of the singing qualities of his string players. The A-flat Largo is certainly among the composer’s most heart-rending conceptions, and again features the cello ushering in its long-hewn theme. The movement’s mere 53 bars, however, serves as an all-too-brief diversion leading directly into the finale (we might lament the fact that Beethoven failed to see this beautiful material through to a full-fledged movement). Following the soloists’ exchange of arpeggios, the cellist segues directly into the C major Rondo alla Polacca, featuring, as its title implies, the Polonaise, a triple-time dance very much in fashion during the Napoleonic era and reflecting Beethoven’s playing to popular taste, something he was rarely prone to do. Beethoven serves up several different dance themes, as befits a rondo movement. These include the playful theme introduced by the cello at the start, another lyrical

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melody ushered in by the soloist’s quickstep rush of upward sixteenth notes, and deep into the movement, a stately, aristocratic idea given first to the violin and punctuated by Polonaise rhythm of the winds and horns, lending it a martial air. The movement also features brilliant virtuosic triplet passagework throughout and is capped by a brief but brilliant coda, lending a thrilling conclusion to Beethoven’s unusual and captivating work.

Felix Mendelssohn (1809-1847): Symphony No. 3 in A Minor, Op. 56 “Scottish”

Instrumentation: Scored for pairs of flutes, oboes, clarinets, bassoons and trumpets, four horns, timpani and strings Duration: 40 minutes There were few 19th century composers or conductors who did more for the development of music than the Berlin-born Jakob Ludwig Felix Mendelssohn Bartholdy. In addition to composing seventeen symphonies, among them those composed as a precocious twelve-year-old, Mendelssohn worked tirelessly at the helm of Leipzig’s Gewandhaus Orchestra. Leading one of Europe’s premiere ensembles, he raised the overall level of orchestral playing on the continent, revived the music of past masters such as Bach and Schubert, championed scores by his contemporaries, among them, Schumann and Berlioz, and helped establish symphony concerts as a public entity within Germany. At the age of 20, with his first large symphony behind him, Mendelssohn headed to England, setting off a grand tour that continued with trips to Scotland, Wales and Italy. The sunny south proved revelatory, particularly in light of the wet and moody atmosphere he left behind and culminated with the spirited strains of the ‘Italian’ Symphony, a work dispatched with relative speed. The ‘Scottish’, however, was another matter. Following a visit to Holyrood Palace in July of 1829, Mendelssohn began drafting ideas for music inspired by the Scottish landscape in the hopes of capturing its essence in sound, but it would not be until 1842 that work on the A minor Symphony was finished. Various features proclaim this a product of the Romantic age, including its lush orchestration, unifying features—the opening theme, which dominates the first movement through its various transformations, returns at the symphony’s close—and Mendelssohn’s desire that the movements follow one

another without pause. The name ‘Scottish,’ by the way, did not appear in the first published edition, though Mendelssohn referred to it as such in his correspondence. The somber opening idea came to the composer in a flash while touring the chapel ruins in Edinburg where Mary Queen of Scots was crowned: “We went, in the deep twilight, to the palace where Queen Mary lived and loved…Everything around is broken and moldering, and the bright sky shines in. I believe I found the beginning of my Scotch Symphony there today.” The evocative, brooding introduction is invested with a vocal quality, whose hymn-inspired theme is followed by an unaccompanied, unison violin phrase, perhaps Mendelssohn’s attempt to capture a sense of isolation. The playful, elfin character heard at the start of the Scherzo was a Mendelssohn specialty, although this scherzo, most unusually, is actually constructed in sonata form. Marked “fast but not too fast,” this charming movement opens with a pentatonic scale, a characteristic of Scottish folk music, while Mendelssohn’s bubbly accompaniment drives the music forward (take note of the delightful virtuosity of his scoring). The extended Adagio, a supreme example of Mendelssohnian sentiment, is built of two ideas—a broad, loving violin melody, which will find its way to the cellos where it fully unfolds, and the foreboding wind chords, the latter which gives way to a noble rendition and provides an effective contrast to the principal material. Mendelssohn will breathe still more life into his melody’s final phrase in the sumptuous coda. On the title page of the finale Mendelssohn wrote Allegro guerriero, suggesting a bellicose programmatic content, a concept supported by the opening horn attacks and the air of agitation that follows. The movement, one of the composer’s strongest orchestral conclusions, has it all— driving rhythms, contrapuntal finesse, a rich development of ideas and an exciting reprise. Indeed, toward the end, as the coda swings to A major, Mendelssohn recalls his first movement in yet another transformation and brings the symphony to a triumphant conclusion. Still, whether the composer envisioned a battle scene, or any specific program for that matter, was never revealed. Indeed, it may be a challenge to sense anything Scottish at all (it should be noted that Mendelssohn harbored a general distaste for nationalism in any form—“No national music

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for me! Ten thousand devils take all nationality!”). Composer Robert Schumann, who was sent a score to review and believed he was looking at the ‘Italian’ Symphony, commented on the work’s “beautiful Italian pictures.” Scottish or not, Mendelssohn ultimately takes us on a stirring journey and perhaps comes the closest he ever would to capturing the sound of passion, nobility, isolation and triumph, the ideals at the very heart of the Romantic spirit. © Marc Moskovitz www.marcmoskovitz.com

About the Program Notes Author

Marc Moskovitz In addition to his work as principal cellist of the ProMusica Chamber Orchestra, Marc Moskovitz collaborates frequently with various other ensembles, among them The North Carolina Symphony. A former Associate Professor of The University of Toledo, Marc has been heard at the Library of Congress and the International Piatti Festival (Bergamo, Italy), and has performed with the Boston Pops and the Handel and Haydn Society of Boston, with whom he has also recorded and toured. His recordings include music of cello virtuosi David Popper and Alfredo Piatti, available on the VAI label. As an author, Marc has contributed to The New Grove Dictionary of Music and Musicians, written liner notes for the Naxos and Melba labels, and his program notes have appeared in English, German, Spanish and Chinese. He is author of Alexander Zemlinsky: A Lyric Symphony (2010) co-author of Beethoven's Cello: Five Revolutionary Sonatas and Their World, and his next book, Measure: In Pursuit of Musical Time, will be released next year, all published by Boydell & Brewer (UK). www.marcmoskovitz.com

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We’re proud to support ProMusica Chamber Orchestra (with the above strings attached).

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ProMusica’s

Composer/ Performer Project ProMusica Chamber Orchestra’s longstanding commitment to the performance of new music and supporting the work of living composers is demonstrated with 68 commissions and over 120 premieres to our credit.

Music Director David Danzmayr’s initiative, our Composer/ Performer Project, has played a significant role in our broader goal to connect audiences to composers—not just masters of the past such as Beethoven and Mozart—but to the living musicians and artists of today. The entire life cycle of a new work is reflected: from creation, to development, to a premiere performance. This project is an eff ort to showcase today’s composers as not only creators of work, but soloists in their own right. While there was a time when this idea might not have seemed so novel (for example during the time that Mozart lived), ProMusica offers audiences a new and fresh perspective on living composers. The Composer/Performer Project launched in April of 2014 and has since featured Lera Auerbach, Huw Watkins, Joshua Roman, Conrad Tao, Gabriela Montero, and Richard Scofano. This season, we welcome two composer/ performers to the Southern Theatre stage including Xavier Foley and Joshua Roman.

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April Guest Artist

Joshua Roman Joshua Roman is a cellist, accomplished composer and curator whose performances embrace musical styles from Bach to Radiohead. Before setting off on his unique path as a soloist, Roman was the Seattle Symphony’s principal cellist - a job he began at just 22 years of age and left only two years later. He has since become renowned for his genre-bending repertoire and wide-ranging collaborations. Roman was named a TED Senior Fellow in 2015. His live performance of the complete Six Suites for Solo Cello by J.S. Bach on TED's Facebook Page garnered nearly one million live viewers, with millions more for his Main Stage TED Talks/Performances, including an improvisational performance with Tony-winner/MacArthur Genius Grant recipient Bill T. Jones and East African vocalist Somi. A Gramophone review of his 2017 recording of Aaron Jay Kernis’s Cello Concerto (written for Roman) proclaimed that "Roman’s extraordinary performance combines the expressive control of Casals with the creative individuality and virtuoso flair of Hendrix himself.” Recent highlights include performing standard and new concertos with the Colorado, Detroit, Jacksonville, Milwaukee, and San Francisco Symphonies. In addition to his other orchestral appearances Roman has collaborated with the JACK, St. Lawrence, and Verona Quartets and brings the same fresh approach to chamber music projects to his own series, Town Music at Town Hall Seattle.

Joshua Roman’s adventurous spirit has led to collaborations with artists outside the music community, including creating “On Grace” with Tony-nominated actor Anna Deavere Smith. His compositions are inspired by sources such as the poetry of Pulitzer Prize-winner Tracy K. Smith, and the musicians he writes for, such as the JACK Quartet, violinist Vadim Gluzman, and conductor David Danzmayr. Roman’s endeavors outside the concert hall have taken him to Uganda with his violin-playing siblings, where they played chamber music in schools, HIV/AIDS centers and displacement camps. joshuaroman.com

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Classically Modern Vadim Gluzman, violin & creative partner Joshua Roman, cello & composer Southern Theatre // Saturday, April 2 // 5:30 PM Southern Theatre // Sunday, April 3 // 7:00 PM GOLIJOV

Last Round

MENDELSSOHN Violin Concerto in E Minor, Op. 64 I. Allegro molto appassionato II. Andante III. Allegretto non troppo - Allegro molto vivace Vadim Gluzman, violin

Intermission

Intermission lasts 15 minutes ROMAN

Confluence [Commission & World Premiere] Vadim Gluzman, violin Joshua Roman, cello

HAYDN Symphony No. 94 in G Major "Surprise" I. Adagio cantabile – Vivace assi II. Andante III. Menuetto: Allegro molto IV. Allegro di molto Joshua Roman’s commission and world premiere is made possible through the generous support of Marilyn and Marty Campbell. Additional support of the commission is provided by the generosity of an Anonymous donor. Joshua Roman’s appearance is made possible by the Marzella family. Stay for Coda: Post-Concert Conversation. Meet Joshua Roman, Vadim Gluzman, and David Danzmayr and learn more about tonight’s program. 2 0 2 1 - 2 2 S E A S O N | promusicacolumbus.org

APRIL: About the Music The Jon Mac Anderson Program Notes underwritten by Porter, Wright, Morris and Arthur, LLP

Osvaldo Golijov (b. 1960): Last Round

Instrumentation: Scored for string orchestra Duration: 14 minutes Born in Argentina to a physician father and pianist mother, Osvaldo Golijov and his family emigrated to Romania; subsequently Osvaldo moved, first to Israel and shortly thereafter to America, where he worked with George Crumb, among this country’s most experimental and important composers. Currently a resident of Massachusetts, Golijov’s reputation has blossomed, and he has become one of today’s most in-demand composers.

From Golijov’s description we can fairly sense the composer’s passionately energetic style. Indeed, a favorite composer among string players, he finds new, exciting, inventive, and wholly unique—albeit always idiomatic— ways of treating and combining the instruments. The first movement is a study of increasing tension and changings tempos. Following a brief introduction, characterized by its driving bass line, the orchestra pulls back to a much more restrained pace, as Golijov introduces a series of ostinato gestures throughout the group, some highly rhythmic, others propelled by a rapid crescendo. These gestures gradually increase in speed, to the point where the score becomes pure energy. Without warning the tempo collapses, as if Golijov’s boxers are pulled back to their respective corners to begin their dance again. Eventually at the height of their energy the players sync up, and the movement concludes with the sound of folk music on steroids before literally sinking away. The second movement begins attacca (immediately), a tangoinfluenced elegy entitled "Muertes del ángel," that richly evokes the nuevo tango style of Piazzolla. Like his musical muse, Golijov’s score is imbued with lush melody, dark, mysterious hues and smoldering passion of another time and place.

ProMusica audiences are no strangers to the music of Astor Piazzolla and in Golijov's Last Round, the spirit of the late Argentine tango master is, in the words of Golijov, given the chance “to fight one more time." The title is taken from a short story about boxing by Julio Cortázar but in Golijov’s hands becomes a work about an “idealized bandoneón” [Piazzolla’s accordion-like instrument]. “There are two movements: the first represents the act of a violent compression of the instrument and the second a final, seemingly endless opening sigh (it is actually a fantasy over the refrain of the song 'My Beloved Buenos Aires,' composed by the legendary Carlos Gardel in the 1930s). But Last Round is also a sublimated tango dance. Two quartets confront each other, separated by the focal bass, with violins and violas standing up as in the traditional tango orchestras. The bows fly in the air as inverted legs in crisscrossed choreography, always attracting and repelling each other, always in danger of clashing, always avoiding it with the immutability that can only be acquired by transforming hot passion into pure pattern."

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Felix Mendelssohn (1809-1847): Concerto for Violin and Orchestra in E Minor, Op. 64

Instrumentation: violin soloist, pairs of flutes, oboes, clarinets, bassoons, trumpets and horns, timpani and strings Duration: 26 minutes What would prove to be Felix Mendelssohn’s final significant orchestral work was conceived in the year 1838, while the composer was also at the helm of one of Europe’s most prestigious musical institutions, the Leipzig Gewandhaus Orchestra. Given the extent of Mendelssohn’s tireless musical activities, which included composing in nearly every genre, traveling as a soloist and conductor, founding the Leipzig Conservatory, and championing lesserknown composers, among them J.S. Bach, Schubert, and Schumann, he would have had a strong feel for the violin concerto landscape. Such repertoire included concerti by Beethoven, Ludwig Spohr (who knew Beethoven and mentored the young Mendelssohn) and especially the contributions of violin virtuoso Giovanni Battista Viotti, who arguably exerted the greatest influence on violin playing during the first quarter of the 19th century. Nor did Mendelssohn’s E minor Concerto mark his first experience writing a violin concerto. His earlier attempts, however, remained unpublished, several of which were products of a thirteen-year-old prodigy, one of the few composers whose early works could compare with those of the young Mozart. Thus, by the time the supremely accomplished twenty-nineyear-old found the inspiration for his latest offering, he was in full command of a compositional technique that placed him among the greatest of living composers and was as well-acquainted as any living musician with all matters musical. After pitching the idea for a concerto to his long-time friend and Leipzig concertmaster, Ferdinand David, Mendelssohn chipped away for the next six years, during which time he consistently consulted with the violinist about technical issues (it speaks to Mendelssohn’s character that although he played and understood the instrument perfectly, he still desired the input of a highly valued colleague). For whatever reason the concerto required so much time to complete, the finished product was well worth the wait.

It received its premiere in 1845 and was immediately recognized as an invaluable contribution to the violin concerto repertoire (those works of Spohr and Viotti, on the other hand, have long since vanished from the concert stage). Mendelssohn was, by nature, no revolutionary. While he imbued his scores with the uniquely personal gifts of inspired melody, stirring harmonies and an unsurpassed sense of orchestration, he was largely pouring new wine into bottles produced during the Classical era. But with his concerto, Mendelssohn actually offers up some new ideas with respect to formal outlines. Among the most unusual gambits occurs at the very beginning, where the violinist jumps in immediately rather than being preceded by an expansive orchestral instruction. Rather than provide the opportunity to allow the soloist room to create or even improvise a cadenza (soloist alone), Mendelssohn chose to write out his cadenza in full (featuring extended ricochet string crossings). This passage also serves as a bridge to the recapitulation, though tradition held that the cadenza be placed toward the end of the first movement. And finally, all three movements are played without pause, with the bassoon serving to connect the first and second movements. Innovations aside, it is on account of its expressive qualities, excitement, and exquisite craftsmanship that Mendelssohn’s concerto has remained a favorite of violinists and audiences alike. A year before his death, the celebrated 19th century violinist Joseph Joachim, who played for Mendelssohn at his entrance to the Leipzig Conservatory and for whom Brahms wrote his own concerto, summed up what Mendelssohn’s concerto meant to his instrument’s repertoire. Having acknowledged that the greatest of all was Beethoven’s, the seriousness of that of Brahms and Bruch’s being the most seductive, the violinist’s violinist admitted that “the most inward, the heart’s jewel, is Mendelssohn’s.”

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FROM THE COMPOSER: Josh Roman (b. 1983): Confluence

Instrumentation: Scored for solo violin and solo cello, pairs of flutes, oboes (double English horn), clarinets (double bass clarinet), bassoons, horns, harp, timpani and percussion, and strings Duration: 15 minutes Cellist-composer Josh Roman composed this double concerto during the 2019-2020 season and the completed composition was slated for its premiere here in the Southern Theatre in April of 2020. I spoke with Josh twice while he was in the process of composing the concerto and we at ProMusica thought it would be an interesting for you, our audience, to “eavesdrop” on the compositional process: PART I: Marc: Hi Josh! Good to hear your voice again! Today is January 8, 2020…how far along are you presently and what can you tell us about it? Josh: It’s a single movement, though it will have clear sections and will last about 16 minutes. I am trying to plan how it all fits together but I don’t want to force it into a specific structure and I actually already have far more material than will end up going into the piece. There’s a lyrical section in the middle, for instance, but some of what I hear is not quite what I’m looking for for this piece, so it may get used somewhere else. And just yesterday I found the sound I’m looking for in one of the sections—it’s a balance between looking for things and letting things evolve, but yesterday it all became much clearer… Marc: How about the work’s inspiration—what are you trying to communicate to your listeners? Josh: If you remember my earlier concerto, it was very thematically driven and largely about how relationships end and what one might learn from that. The central movement was a fight like one would have in a relationship. Now that I also have a violinist as a soloist, I wanted to create a true partnership so I’m looking at the two instruments and asking myself, “What are the strong characters of each, how do they learn to learn to work together, and what’s both beautiful and challenging about what they do?” Musically I’m letting that guide the piece. Marc: And the title? Josh: At this stage I don’t have a title and I’m trying not to get caught up in any extra-musical meaning. I think of it as a double concerto but as a genre that seems a little too grand, given its overall size. Who knows? As the deadline draws closer, some of these things may change so let’s talk again in a few weeks and I can share how things have developed.

PART II: Marc: Hello again, Josh! So it’s nearly a month later [Feb 3, 2020]—where do things stand with “our” new piece? Josh: Well, I have reached the double bar but the revision process began as soon as my first draft was complete so I’m now refining various layers of the piece. Marc: Have you had any epiphanies or setbacks? Josh: As a matter of fact, I had found what I thought was an attractive theme but the longer I obsessed over it, the more I came convinced I didn’t write it. After a few weeks I figured it out....it wasn’t an exact quotation but it had strong similarities with one of the most popular TV show themes from the last ten years! I was absolutely horrified and had to go back and discard most of the elements that made it similar. So that was a minor setback. I also came to realize that some sections were simply too complicated for what I was trying to communicate…I was simply trying to do too much. So I let go of a lot of conflict between the soloists and have created something simpler and more harmonious or concordant. Marc: Well, I’m glad you discovered your TV theme before you got sued for plagiarism! And when will you meet up with Vadim? Josh: Next month, by which time I’ll have a complete piano score. At this point the whole piece is basically finished, though in this last stretch there is a possibility that small things may still be tweaked. Presently it exists as a partially orchestrated score, with some passages more fully orchestrated and others simply notated as clusters of harmonies or percussion rhythms in the margins and so on. Marc: And how about the work’s structure? Josh: Overall it is built of three parts: I think of the middle section, the heart of the work, as a pool of rejuvenation, something very peaceful; the concerto opens with an energetic spinning out of an idea that literally lands in this beautiful contemplative middle portion or pool; and the dancelike third section borrows from the playful opening and then builds up steam to an exciting finish. So overall it’s very organic. I’m still playing with how to integrate the almost impressionistic accompaniment of the opening with the melody that floats over it but I’m very happy with where the piece is and am confident it will be beautiful and expressive. Marc: Josh, I think I speak for the entire orchestra when I say we are excited to collaborate with you again. Thanks for spending time sharing your thoughts, good luck with your final revisions and we’ll see you on stage!

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Joseph Haydn (1732-1809): Symphony No. 94 in G Major "Surprise"

Instrumentation: Scored for pairs of oboes, flutes, bassoons, trumpets and horns, strings and timpani Duration: 23 minutes For the better part of thirty years Haydn was in the employ of the wealthy Esterházy family, Hungarian nobles who built a Versailles-styled palace in rural Hungary, not far from the Austrian border. Here Haydn earned his bread and butter as a musical servant (and wore the livery to prove it) and remained at his employer’s beck and call for decades. With the death of Prince Nikolaus in 1790, Haydn was finally released from much of his contractual obligations and granted liberty to travel freely for the first time since coming aboard. His first stop was London, where he was lured by the city’s exciting musical life and specifically the chance to appear in person. Haydn’s music had already captivated English audiences but now he was invited to take an active part in public concert life, a culture almost entirely at odds with the restricted life among the nobility to which he had been tethered back in Hungary and Austria. The second of the so-called “London” Symphonies, the G major, better known as the “Surprise Symphony”, was a product of 1791 and received its premiere at the Hannover Rooms in March of 1792, with the composer directing the orchestra from the keyboard. The English had come to love everything about Haydn’s music—its tunefulness, its joy and particularly its unexpected twists and turns. The music of the era was always accessible—there was little in the way of “progressive” music with which today’s audiences are familiar—but it also tended to fall into formally expected molds, exemplified by its four-movement structure. Haydn, of course, observed, or rather, helped establish what has since become regarded as the “Classical style” but he was always looking for ways to catch his listeners off guard. Sometimes this took the form of unpredictable key changes or musical quotations. In the case of the G major Symphony, he hoped to outdo the competition, a rival concert society whose performances had begun a week before. If he was beloved before his trickery, Haydn endeared himself even more with the effect of his latest gambit.

The G major is constructed of the expected four movements and like a number of Haydn’s significant works, opens with a slow introduction. This gives way to a noble Vivace assai in 6/8 time, lending it the feeling of a quick dance, and if one was to compare it with one of his earlier symphonies from his days at the Hungarian court, the individuality of the various instrumental groups, his masterful if fleeting counterpoint and powers of invention would be thrown into high relief. The 2/4 Andante, a theme and variations (among the composer’s favorite forms), opens with a rather rigid-sounding theme, but Haydn’s pianissimo and pizzicato (plucked) repeat of the theme is calculated for maximum effect, for only by setting up his listener’s expectations can he fully exploit them. This he does with an explosive G major (dominant) chord, hence “The Surprise.” Now the Londoners were on guard, so Haydn did his best to keep the musical surprises coming throughout the four variations that followed, whether by way of dynamics or unexpected harmonic shifts. Haydn marked his Menuetto: Allegro, another surprise, albeit one of a more subtle—though historically far more important—nature. Traditional third movements moved at a slow, regal pace, but here Haydn ups the ante for the first time, its quicker tempo lending the movement the flair of a country dance. This change would be absorbed by none other than Haydn’s student Beethoven in his own symphonies to follow. The finale, marked Allegro molto, is a propulsive hybrid of sonata and rondo (another of the composer’s favorites), allowing for both a sophisticated blueprint and a verbatim return of the opening, which even the least musically literate in his audience could track. Haydn’s liberal use of the timpani was no doubt among the many features of his latest offering that delighted his listeners, though nowhere was their appreciation more evident than that found in the earlier Andante. As Haydn himself was to proudly note, “The first Allegro of my symphony had already met with countless Bravos, but the enthusiasm reached its highest peak at the Andante with the Drum Stroke. Encore! Encore! sounded in every throat!” Though no longer novel, Haydn’s 200-year-old symphony of surprises continues to capture our attention. © Marc Moskovitz www.marcmoskovitz.com

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May Guest Artist

Martina Filjak “It couldn't be better - her musicianship was enchanting. Everything is just right, from the tone, to the choice of tempos, the dynamics, her very fine pianistic technique and a great emotional musicality.” – Süddeutsche Zeitung “Brilliant, sensitive and imaginative game with technical ingenuity and natural musicality ... remarkable individuality ... a pianist to keep an eye on.” – The New York Times Croatian pianist Martina Filjak has established herself internationally with her passionate, poetic playing and the brilliant technical mastery of her instrument. She captivates audiences and the press with her charismatic personality and magnetic stage presence. After graduating at the Music Academy in Zagreb, Martina Filjak completed her studies at the Vienna Conservatory and at the Hanover University of Music, Drama and Media. She also attended master classes at the piano academy in Como. She garnered international attention in 2009 by winning first prize and the Beethoven Prize at the Cleveland International Piano Competition. Before that she won first prizes at the Viotti International Piano Competition in Italy (2007) and the Maria Canals International Piano Competition in Barcelona and was a prizewinner at the Busoni Competition in Bolzano. Since then, the artist has worked with renowned orchestras, particularly in the USA, Germany, Italy, and Europe, and has played piano evenings in important concert halls. She has already been a guest at Zankel Hall of Carnegie Hall New York, the Konzerthaus Berlin, the Musikverein Vienna, the Concertgebouw Amsterdam, the Palau de la Música Catalana, the Sala Verdi and Auditorio in Milan, the Teatro San Carlo Naples, the Auditorio Nacional de Madrid, the Teatro Colon in Buenos Aires, the Ravinia Festival of Chicago, and the Salle Gaveau Paris. After her debut CD with sonatas by Antonio Soler and a chamber music recording with the cellists Jan Vogler and Christian Poltéra, which was released by Sony Classical in 2013, her second solo CD with works by Schumann, Bach / Liszt and Skrijabin was released in autumn 2016 at the label Solo Musica. On January 10, 2020, the new album "Light & Darkness" was released by the label Profil Edition Günter Hänssler. In the 2021/2022 season. Martina returns to the US performing with the Kansas City Symphony and Michael Francis, the Arkansas Symphony and Akiko Fujimoto, the ProMusica Chamber Orchestra and David Danzmayr. She looks forward to further collaborations with the Norddeutsche Philharmonie

Rostock and Marcus Bosch, the Bilbao Symphony and Gutnehr Neuhold, the Liechtenstein Symphony and Sebastian Lang Lessing as well as the Symphony Orchestra of the Croatian Radio and Pascal Rophe. She tours Germany in a chamber music formation with horn player Felix Klieser and violinist Andrey Bielow. Future performances include venues such as the Schleßwig Holstein Music Festival, the Elbphilharmonie in Hamburg, Teatro La Fenice in Venice. Throughout her extensive career Martina Filjak has performed with numerous orchestras that include the Deutsche Radio Philharmonie Saarbrücken Kaiserslautern, the Bremer Philharmonic, the Staatskapelle Weimar, the Staatskapelle Halle, he Symphony Orchestra of Aachen, and the Norddeutsche Philharmonie Rostock. Other orchestra engagements brought her to the Orquesta Filarmónica de Bogota, the The Florida Orchestra, the Colorado Springs Philharmonic, the Orchestra La Verdi Milano, the San Diego Symphony, the Cleveland Orchestra, the Orquesta Filarmonica de Malaga, the Orquesta Filarmónica de Buenos Aires at the Teatro Colon, the Robert Schumann, Philharmonie Chemnitz, the Dortmund Philharmonic the Turku Philharmonic Orchestra, the Japan Century Orchestra, the Israel Chamber Orchestra, as well as the Orchester Philharmonique de Strasbourg, the Torino Philharmonic Orchestra and the Zagreb Philharmonic. Martina Filjak has worked with conductors such as Michael Schønwandt, Heinrich Schiff, Theodor Guschlbauer, JoAnn Falletta, Stanislav Kochanovsky, Alexander Shelley, Hans Graf, Markus Poschner, Sebastian Lang-Lessing, Josep Caballé-Domenech, Carlos Miguel Prieto, Paul Goodwin and Stefan Sanderling. Her special passion for chamber music shows in the collaboration with top-class partners such as the Szymanowski Quartet, the Amaryllis Quartet, the Ensemble Berlin, as well as Dmitry Sinkovsky, Radovan Vlatkovic, Felix Klieser, Monika Leskovar and Tatjana Vassiljeva. Martina Filjak's large repertoire ranges from Bach to Berio and includes more than 30 piano concertos. In addition, she is committed to researching less well-known piano literature and various concert formats. The artist lives in her adopted home of Berlin, loves to travel, and speaks seven languages.

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www.martinafiljak.com

Mendelssohn’s Italian Martina Filjak, piano

Southern Theatre // Saturday, May 7 // 5:30 PM Southern Theatre // Sunday, May 8 // 7:00 PM CLYNE

Stride for String Orchestra [Ohio Premiere]

BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37 I. Allegro con brio II. Largo III. Rondo: Allegro Martina Filjak, piano

Intermission

Intermission lasts 15 minutes

MENDELSSOHN Symphony No. 4 in A Major, Op. 90 “Italian” I. Allegro vivace II. Andante con moto III. Con moto moderato IV. Saltarello, Presto

Stay for Coda: Post-Concert Conversation. Meet Martina Filjak and David Danzmayr and learn more about tonight’s program.

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MAY: About the Music The Jon Mac Anderson Program Notes underwritten by Porter, Wright, Morris and Arthur, LLP

three movements—Grave – Allegro di molto e con brio, Adagio cantabile and Rondo: Allegro—though they move directly from one to the next. Her hope is “by reimagining cells from Beethoven’s Sonata Pathétique”, her work will “sound both familiar and new.”

Ludwig van Beethoven (1770-1827): Piano Concerto No. 3 in C Minor, Op. 37 Anna Clyne (b. 1980): Stride

Instrumentation: Scored for string orchestra Duration: 10 minutes If you’ve ever wondered how Beethoven might have composed had he lived in our time, Clyne’s Stride might offer some clues. Besides direction quotations from the “Pathétique” Sonata for Piano, Clyne has managed to invoke some of the muscular qualities of Beethoven’s music, as is evident from the very opening of her thirteenminute work, Stride, for strings, composed in 2020 to celebrate Beethoven’s 250th anniversary. Cline has also invested her music with other Beethoven-esque features, including a focus on a series of brusque, tight motives, an extreme use of dynamics and, as well, a bass line from the Pathétique, a style of writing she connects with “stride” piano playing (that is, the left-hand broken octave patterns common to jazz pianists like Fats Waller and Art Tatum). Stride, therefore, hits its stride somewhere between the world of Beethoven and that of 1920s-30s American jazz piano playing. Clyne, who is currently among a handful of highly soughtafter young composers. Having served as Composerin-Residence for the Chicago Symphony Orchestra, Baltimore Symphony Orchestra, among others, her music was chosen to open the 2021-22 season of the New York Philharmonic. Stride gives a very good impression of Clyne’s general style, one capable of great warmth—she does not shy away from traditional tonalities or romantic gestures—but also inventive sounds. Besides listening for the Beethoven quotations (some may sound distantly familiar, whereas others will appear as unmistakable) note how strongly Cline separates the upper and lower strings. The work is in three distinct movements—Composed of

Instrumentation: Scored for pairs of oboes, flutes, clarinets, bassoons, trumpets and horns, timpani and strings Duration: 34 minutes

Inevitably, discussion about Beethoven’s majestic Third Piano Concerto swings around to the matter of the work’s key of C minor. Beethoven, like many composers, held strongly to the belief that every key held the promise of distinct qualities, some darker, others joyous, some introspective and others triumphant, in other words, a specific key for a specific mood. C minor, then, was a key Beethoven turned to for intensely personal reasons and his C minor scores were often imbued with intense drama, as expressed, for example, by the Fifth Symphony and the famous “Pathétique” Sonata, Op. 13, among a number of other C minor works. In this context we almost must also consider Symphony No. 3, the “Eroica,” in E flat, which shares C minor’s key signature and whose intense Funeral March Beethoven also set in the brooding key of C minor. As it so happens, all of the above works belong to the same style period, the years 1798-1803. These were particularly difficult ones for the composer, both physically and psychologically, for not only did his loss of hearing become evident during this time but on the world stage Napoleon crowned himself Emperor, shattering Beethoven’s belief that the Corsican would stand up for the common man. Now Beethoven would have to find a way to exist in a world of increasing loneliness and disappointment. In light of such drama, we can more easily comprehend Beethoven's need to work with highly expressive tonalities, since for him music was often a means of intense personal expression, not simply of his woes but also his inherent belief in goodness.

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Not incidentally, crafting a work of intense meaning required not only particular key relationships but also sufficient time to allow matters to unfold naturally. In both regards, Third Piano Concerto succeeds masterfully. The concerto not only opens with the longest orchestral exposition of any of Beethoven’s concertos—110 bars of music played by the orchestra alone before the soloist plays a note—but as a whole the work is actually significantly longer than the Mendelssohn’s 4th Symphony to be performed after intermission! We should also note that while much of the score is powerfully gripping, Beethoven is also capable of delivering beautiful melodies, as is evident in the first movement’s second theme, played first by the violins—a fitting example of how the same key signature can be used to craft two extremely different moods. Beethoven set the concerto’s second movement in the distantly related key of E major, which, coming on the heels of the stormy C minor ending of the Allegro con brio, feels like the breath from another world. Beethoven’s student Carl Czerny said it “must sound like a holy, distant and celestial harmony.” To amplify the effect, Beethoven opens the movement with piano alone. The opening of the Rondo finale immediately snaps us out of this reverie and plunges us back into the C minor landscape. But rather than Sturm und Drang, Beethoven toys with us, spiriting us back and forth between the major and minor modes and even treating his playful rondo theme to an academic fugue. For all his demons, Beethoven miraculously finds the means to revel in his art and open himself up to anyone willing to listen.

Felix Mendelssohn Bartholdy (1809-1847): Symphony No. 4 in A Major, Op. 90 "Italian"

Instrumentation: Scored for pairs of oboes, flutes, clarinets, bassoons, trumpets and horns, strings and timpani Duration: 27 minutes Between the years 1829-30 Felix Mendelssohn undertook the “Grand Tour”, a journey of sorts experienced by many young people in Europe intent on gaining a deeper understanding of life beyond that experienced at home (think about young college students traveling around Europe on trains today). Mendelssohn’s travels took him first to England, Scotland, and Wales, giving rise to, among other works, the “Scottish” Third Symphony heard earlier

this season and the Hebrides Overture. The twenty-oneyear-old composer was working on some of this music as he traveled south to Italy, where he arrived in autumn and where he would remain for nine months. Though he began drafts of what would emerge as his Fourth Symphony during his stay, work on the score continued until 1833, at which point his English commissioner was breathing down his neck to finish it. Mendelssohn returned to London in May of that year to conduct the premiere and though well received, he was less-than-satisfied with the product. The following year he revised the last three movements and had planned on further revisions but ultimately died before being able to see matters through. As with much of the composer’s music, it was published posthumously. We tend to think of Mendelssohn as a Romantic and for good reason: his scores are imbued with lush melody and great warmth, characteristics of much of the music produced in the 19th century. Yet at heart Mendelssohn remained a classicist and these factors too are evident in the “Italian”—four movement form built of the traditional fast-slow-medium-fast pattern, duration (the work lasts about as long as a Mozart symphony and is significantly shorter than any number of symphonies of Beethoven) and scoring (see above), which is identical to that of Haydn’s “Surprise” Symphony performed earlier this season. We can argue what, if anything, is truly “Italian” in the score, though without question Mendelssohn captured a much lighter mood than that of the Scottish, for instance, and we can certainly imagine the young composer, soaking in the Italian sunshine and regretting cold, wet Germany to which he would soon return. Regardless of what its composer thought of the work, the Fourth Symphony has become an audience favorite, from the propelling drive of its opening bars to the dashing Saltarello at its close. Viva Italia!

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Meet the Musicians

Katherine McLin

concertmaster, 22 years The Donald G. Dunn Chair Current Residence: Phoenix, AZ

Amy Cave*

violin, 7 years The Randy & Marilyn Miller Chair Current Residence: Cleveland, OH

Solomon Liang

violin, 3 years The Laurie & Thomas W. Hill Chair Current Residence: Columbus, OH

Rebecca Willie

Jennifer Ross

assistant concertmaster, 7 years The Joan M. Herbers Chair Current Residence: Greensboro, NC

principal second, 4 years The Brachman Smith Family Chair Current Residence: Jackson, WY

Eric Kline

Heather Kufchak

violin, 10 years The Jim & Ida Copenhaver Ginter Chair Current Residence: Pickerington, OH

William Manley

violin, 16 years The Fran Luckoff Chair Current Residence: Columbus, OH

violin, 11 years The Deborah Raita Chair Current Residence: Dallas, TX

Victoria Moreira

violin, 7 years The Dyann & E. Joel Wesp Chair Current Residence: Chicago, IL

ProMusica is a collective of world-class musicians performing at the highest level who have chosen to make their musical home in Columbus. Learn more about our musicians online at www.promusicacolumbus.org. Koko Watanabe*

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violin, 4 years The Elizabeth Williams Chair Current Residence: Columbus, OH

Mary Harris

principal viola, 26 years The Margaret & Jerome Cunningham Chair Current Residence: Oxford, OH

Marc Moskovitz

Brett Allen

viola, 11 years The Keith F. and Katherine B. Dufrane Trust Chair Current Residence: Columbus, OH

Cora Kuyvenhoven

principal cello, 27 years The Barbara Trueman Chair Current Residence: Durham, NC

cello, 21 years The Bob & Mary Frances Restrepo Chair Current Residence: Columbus, OH

John Pellegrino

Patrick Bilanchone

principal double bass, 10 years The John F. Brownley Chair Current Residence: Columbus, OH

Donna Conaty

principal oboe, 32 years The Lee Shackelford Chair Current Residence: San Diego, CA

double bass, 5 years The Kathryn D. Sullivan Chair Current Residence: Jacksonville, FL

Jessica Smithorn

Stephen Goist

Michael Isaac Strauss

viola, 7 years The Regie & David Powell Chair Current Residence: New York, NY

viola, 6 years The Anne Powell Riley Chair Current Residence: Oberlin, OH

Nat Chaitkin

Joel Becktell

cello, 14 years The William K. Laidlaw Chair Current Residence: Cincinnati, OH

Nadine Hur

principal flute, 1 year The Dana Navin Schultz Chair Current Residence: St. Louis, MO

Ilya Shterenberg

oboe, 3 years principal clarinet, 4 years The Artie & Alisa Isaac Chair The Beth Grimes-Flood & Tom Flood Chair 2 0 2 1 - 2 2 S E A S O N | promusicacolumbus.org Current Residence: Cincinnati, OH Current Residence: San Antonio, TX

cello, 13 years The Donna K. Laidlaw Chair Current Residence: Albuquerque, NM

Anthony Trionfo+

flute, 1 year The Miriam & Bernard Yenkin Chair Current Residence: Worthington, OH

Jennifer Magistrelli

clarinet, 10 years The Jack & Betsy Farrar Chair Current Residence: Richfield, OH

Ellen Connors

Rachael Young

principal bassoon, 11 years The Loann W. Crane Chair Current Residence: St. Louis, MO

bassoon, 6 years The Carolyn Merry & Bob Redfield Chair Current Residence: Cincinnati, OH

Meghan Guegold+

Timothy Leasure*

horn, 1 year The Denise & Barry Blank Chair Current Residence: Jamesville, NY

Rajesh Prasad

percussion, 8 years The Bob Redfield & Mary Yerina Chair Current Residence: Raleigh, NC

trumpet, 18 years The William & Wendy Faust Chair Current Residence: Pickerington, OH

Jeanne Norton

principal harp, 42 years The Sustaining Board Chair Current Residence: Columbus, OH

+ one-year appointment * on leave for the 2021-22 season

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Stephanie Blaha

principal horn, 4 years The Todd S. Swatsler Chair Current Residence: Wadsworth, OH

Renee Keller

principal timpani and percussion, 8 years The Michael & Jody Croley Jones Chair Current Residence: Lima, OH

Aya Hamada

principal harpsichord/keyboard, 17 years The ProMusica Board Chair in memory of Ida Copenhaver Current Residence: New York, NY

2020-2021 Annual Fund Contributors ProMusica Chamber Orchestra is grateful to the following donors who support our efforts to deliver a world-class and unique classical music experience. We invite you to join our circle of supporters online at promusicacolumbus.org, or by calling ProMusica’s Development Office at 614.464.0066 ext. 104. MAESTROS $10,000 AND ABOVE Gifts from Individuals George Barrett The Crowley Family Charitable Fund Margaret and Jerome Cunningham Donald G. Dunn Ida Copenhaver and Jim Ginter Joan Herbers Kathryn Sullivan Todd Swatsler Barbara Trueman Miriam and Bernie Yenkin Anonymous Support from Corporations, Foundations & Public Agency Funds American Electric Power Cardinal Health Foundation Kenneth L. Coe and Jack Barrow Fund of The Columbus Foundation The COR Group of UBS Financial Services The Crane Family Foundation DGD Group E. Nakamichi Foundation The Fox Foundation Greater Columbus Arts Council Nationwide Ohio Arts Council ProMusica Sustaining Board The Reinberger Foundation The Shackelford Family Fund of The Columbus Foundation The Siemer Family Foundation

ENCORE $5,000 - $9,999 Gifts from Individuals Deborah Anderson Lavea Brachman and Andrew O. Smith Lauren Bonfield and Stephen Keyes John F. Brownley Loann Crane The Michael and Paige Crane Fund of The Columbus Foundation Keith Dufrane Betsy and Jack Farrar Beth Grimes-Flood and Tom Flood Jody Croley Jones and Mike Jones Suzanne Karpus Donna Laidlaw Renee K. and George M. Levine Fund of The Columbus Foundation Helen Liebman and Tom Battenberg Nancy Marzella Regie and David Powell The Quintenz Family Mary Yerina and Bob Redfield Mary Frances and Bob Restrepo Anne Powell Riley Dana Navin Schultz and Hugh Schultz Support from Corporations, Foundations & Public Agency Funds CoverMyMeds Fifth Third Bank Ann and Gordon Getty Foundation Ingram-White Castle Foundation KeyBank The Hattie and Robert Lazarus Fund of The Columbus Foundation PNC Vorys, Sater, Seymour and Pease LLP

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SYMPHONY $3,000 - $4,999 Gifts from Individuals Barry Blank Lynn and Paul Blower David Danzmayr Wendy and Bill Faust Anne and Matthew Fornshell Dr. Dara and Mark Gillis Laurie and Thomas Hill The Mary and Robert Lazarus Fund of The Columbus Foundation Fran Luckoff McGinnis Family Fund of The Columbus Foundation Marilyn and Randy Miller Deborah Raita Dyann and Joel Wesp Elizabeth Williams Becky Wright Anonymous SPECIAL GIFTS In Memory of Pamela Romeo Elliott James Elliott In Honor of Pat Garavito Cardinal Health

CONCERTO $2,000 - $2,999 Gifts from Individuals Henry W. & Martha L. Bruner Philanthropic Fund at the Community Foundation of Greater Buffalo Steve and Mary Burkey Peter and Jayne Wenner Costanza DiMarco Family Fund of The Columbus Foundation Lynn Elliott Pat and Darla Garavito Doug and Monica Kridler Drs. Bill Mitchell and Wayne Lawson David Schooler Sallie J. Sherman Anonymous

Bill Miller and Clara Lee Annegreth T. Nill and Bruce C. Posey Ruth Paulson Julie and Bob Rutter Ed and Lori Sarkel Lynda and Doug Schockman Ann and Doug Teske Gail Walter and Allen Proctor Anonymous

Support from Corporations & Foundations English Family Foundation Puffin Foundation West Anonymous

SPECIAL GIFTS In Honor of Julia G. Blair Anonymous

In Memory of Frances Lazarus Peggy Lazarus RHAPSODY $1,000 - $1,999 Gifts from Individuals Julia and Milt Baughman Sally and Roger Baughman Evelyn Behm Ellen Bowden Catherine and John Brody Trish and John Cadwallader David and Annjia Chan Julie and Bob Connors Mark and Mindy Corna Patt and Chuck DeRousie The G. Britton & Carol Durell Family Fund of The Columbus Foundation The David and Anne Durell Family Foundation of The Columbus Foundation Dona Fling Mary Jo Green Linda and Bill Habig Steven Hillyer Pam Hussen and Patrick Vincent Patricia and Brent Jackson Elliott S. Luckoff Susan and Bill McDonough

Support from Corporations & Foundations The Columbus Foundation – Better Together Fund First Commonwealth Bank Kegler, Brown, Hill + Ritter Taft Stettinius & Hollister LLP Yenkin-Majestic Industries

In Memory of George Corey Georgeann Corey In Memory of Allene N. Gilman The Allene N. Gilman Charitable Trust SONATA $500 - $999 Gifts from Individuals Peggy Alexander Robert Allen Pamela and John Beeler Earl Busenburg Robert Byrd Pat Cash Isaacson and Jack Isaacson Kevin Duffy Cornelia Ferguson Judy Garel Sherri Geldin Barbara and Gary Giller Patricia Hadler Brian, Sarah, and Danielle Hall Herbert and Melissa Hedden Adam and Rebbie Hill Brandy and Joshua Hill The Josenhans Family Fund of The Columbus Foundation Jeff Kipnis Joyce and Willem Kogeler Ruth Lantz Susan and Douglas Levin 2 0 2 1 - 2 2 S E A S O N | promusicacolumbus.org

The Lewin Family/Hamilton Parker Foundation Benjamin Martin Mary Pat Martin and Rick Livingston Susan Meiling Larry and Peg Neal Gerald and Ann Newsom Angela and John Petro The Pink Witches Sue Porter and Mike Sayre Harry Pukay-Martin Judith and Richard H. Reuning Cordelia Robinson Patrick Ross Elizabeth Sawyers Nancy Strause Thomas Szykowny and Susan Dutton Nancy and Ray Traub Mary and Willian Vorys Lillian and Francis Webb Anonymous SPECIAL GIFTS In Memory of Carolyn and John Nolan Susan and Barry Lubow In Memory of Alfred B. Strickler The Strickler Family Fund of The Columbus Foundation OVERTURE $250 - $499 Gifts from Individuals Diane and Ted Armbruster George and Vanessa Arnold Jean Atwood and Michael Kirkman Marjorie Bagley Frank Birinyi Constance Bodiker Henry Brecher Yvonne and Richard Burry Todd Clark Jill and Ron Dean Harriet and Scott Donaldson Laura and Pat Ecklar Maureen Mugavin and Michael Fiske Joan Foley Mabel Freeman Jerome Friedman Barbara Glover Michelle Gubola and Lee Fredette William C. Heck Fern Hunt Sarah Irvin Clark Ira and Debby Kane

Matthew Kurk and Nicole Kessler Bill and Sarah Lange Katherine and Yung-Chen Lu Gerald Maloney Jane McMaster Kirk and Christine Merritt Judy Michaelson The Dixie Sayre Miller Fund of The Columbus Foundation Laura Moorman Karen and Neil Moss Panzer-Heitmeyer Fund of The Columbus Foundation Kara and Jeff Reinhardt Linda Roomann and William Slutz Lenore Schottenstein Maureen and Bill Severns Anne Skaggs Carl Smallwood Colleen Nissl and Roger Sugarman The Yaffe/Stump Family Foundation of The Columbus Foundation Leslie Yenkin and Jonathan M. Petuchowski Anonymous SPECIAL GIFTS In Honor of Lavea Brachman Judith and Merom Brachman PRELUDE $100 - $249 Gifts from Individuals Mary Ann and Mike Abrams Jane and Stan Ackley Julia Armstrong Todd Bailey Rebecca Roeder and Steve Bigley Fran Blachman Leonard Black Michael Bongiorno Penny Masters Boes Ann Brace and Lawrence Herman Herbert Bresler Anthony Brown and Susan Oppenheimer Susan Brown Michael Burton David and Lucy Buzzee Carol Chaitkin Janet Chen and Rick Buchanan Kristy Clay Bonita Covel Mary Cowles

Daniel and Christina Crane Mike and Susan Davala Betsy and Nick DeFusco Dr. John DeSando Doug Dillion Lindsey and Kevin Dunleavy Virginia and Wade Duym Erik and Annabel Edwards Jennifer and Arthur Farkas Amy Ferketich Kaeleigh Farrish Amy Thompson and Stephen Fechtor Toba Feldman George and Pat Fichter Gary Flach Linda Fowler Ben and Karen Freudenreich Bruce Garfield and Beth Jackson Tom and Kim Gattis Laura and Eric Geil Nick and Debbie Geldis Carole and Nelson Genshaft Jack and Joan George Blake Getson and Linda Fedak Katie and Jake Gibson Bill Goodyear and David Riggs William Gresham Bryan Hartzler Scott and Elicia Henderson Vincent and Gayle Herried Martin Hibbard Carol and Fred Hofer Brian Houts Harriet Hudson Kay Huebner Susanne Jaffe Deborah and Douglas King Gale and Steve Klayman Jason and Morgan Knapp Sharon Kokot Garth and Diane Kriewall Christine Kullberg and Meri Brace Katie Kuvin Eileen Lee and Raymond Hsieh Syd Lifshin Philip Lortz Andrew and Ayumi Lower Laura MacDonald Mary Frances Macioce Lisa and Michael Maggard Margaret Malone Carol McGuire Al and Mina Mokhtari Don and Marianne Mottley 2 0 2 1 - 2 2 S E A S O N | promusicacolumbus.org

Kathryn Murnane Marilyn and Robert Nims Carolyn Patterson John Pellegrino Vicki Powelson Mr. and Mrs. Seth Reichenbach Bryant and Sandra Riley Al Ross Judy Ross Jean Rudin Lauren Sadataki Lucas Schrader and Liz Jaggers Gary and Ellen Schwarzmueller Frank Scipione Chris and Jane Scott Marquell and Edward Segelken Daniel and Jennifer Shively Stacie and Mark Sholl Amina Smajlovic Marilyn R. Smith Rose Sobel Brittany Lockman Ginny Stein and Michael Lockman Elizabeth Tracy Sharon Sachs and Donn Vickers Charles and Betsy Warner Margaret and William Wells Jonathan Wentz Bernice and Chuck White Patricia M. Wiedner Margie and Thomas Williams Christopher Wilson Women's Club of Powell Anonymous SPECIAL GIFTS In Honor of Kathryn Sullivan Randi and Russ Carnahan In Honor of Abigail Louise Wells Martha Lentz This list includes contributions of $100+ made to ProMusica for the period of July 1, 2020 to June 30, 2021. Every effort has been made to ensure accuracy. However, in listings of this length, errors and omissions may occur. If your name has been omitted, or listed incorrectly, we sincerely apologize. Please let us know so that we may correct our records and this listing. Thank you.

Gifts to the Maestro’s Challenge We thank the following donors who joined Music Director David Danzmayr in support of the Maestro’s Challenge during our 42nd season. We are grateful for this support, which enables us to remain resilient, so that we can emerge stronger – infusing this community with our music. Mary Ann and Mike Abrams Deborah Anderson George and Vanessa Arnold Marjorie Bagley George Barrett Sally and Roger Baughman Frank Birinyi and Chriss Mascaro Kathleen Boston John F. Brownley Yvonne and Richard Burry David and Lucy Buzzee Trish and John Cadwallader Donna Cavell Annjia Hsu and David Chan Todd Clark Julie and Bob Connors Georgeann Corey Mindy and Mark Corna Barbi Crabill David Danzmayr Mike and Susan Davala Dr. John DeSando Jessica DiCerbo Harriet and Scott Donaldson Laura and Pat Ecklar Jim Elliott and John Behal Lynn Elliott Beverley Ervine and Boyce Lancaster Betsy and Jack Farrar Bill and Wendy Faust Gary Flach Anne and Matthew Fornshell Terri Jones-Forte and Jade Forte Mabel Freeman Pat and Darla Garavito Debbie and Nick Geldis Jim Ginter Jane Davis Gladwin Bill Goodyear and David Riggs Michelle Gubola and Lee Fredette Patricia Hadler

Mike and Harriet Hadra Brian, Sarah & Danielle Hall Laurie and Tom Hill Steven Hillyer Barbara Hunt Jody Croley Jones and Mike Jones Ann R. Joyce Ira and Debby Kane Lauren Bonfield and Stephen Keyes Deborah and Douglas King Douglas Klamfoth Morgan and Jason Knapp Joyce and Willem Kogeler Ann K. Laudeman Mary Lazarus Helen Liebman and Tom Battenberg Syd Lifshin Laura MacDonald Daniel and Ruth Martin Nancy Marzella Marybeth McDonald Susan and Bill McDonough Mark Miller Laura Moorman Margo Olson Carolyn Patterson Ruth Paulson Regie and David Powell Susan and Ken Quintenz Deborah Raita Bob Redfield and Mary Yerina Judith and Richard Reuning Ruth Robinson Stephen Bigley and Rebecca Roeder Jean Rudin Julie and Bob Rutter Lauren Sadataki Lyle Saylor Gary and Beth Schwarzmueller Frank Scipione Bill and Maureen Severns

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Lee Shackelford Carl and Connie Smallwood Lynda and Stuart Smith Rose and Ron Solomon Jennifer Sonnenberg Kathryn Sullivan Robert and Suzy Swanson Todd Swatsler Thomas Szykowny and Susan Dutton Lillian and Francis Webb Bernice and Chuck White Patricia M. Wiedner Eric and Rebecca Willie Maria Elena Wolf Becky Wright Yenkin-Majestic Industries Miriam and Bernie Yenkin John and Sherry Young Anonymous

Gifts to the Endowment Fund Gifts contributed to the ProMusica Endowment Fund provide a lasting financial foundation for the future of our orchestra. ProMusica Chamber Orchestra deeply appreciates the following gifts received during the 2020-2021 giving year (July 1, 2020– June 30, 2021). In Memory of Christine Carter C. Alan Carter In Honor of Janet Chen Katherine Borst Jones In Memory of Ida Copenhaver Ginter Jim Ginter

In Memory of Margaret Fiske Maureen Mugavin and Michael Fiske In Honor of Katelyn French Elliott Valentine

In Memory of Susan Horst Cratty Mabel Freeman

In Honor of Dr. Wayne Lawson's lifelong commitment to facilitating the arts in Columbus and the State of Ohio William Mitchell

In Memory of Jerrie Cribb Elliott Bush

In Honor of Peggy Lazarus Barbara and David S. Brandt

In Honor of Jill DeVore Elise Berlan

In Honor of Katherine McLin Diane McLin

In Memory of Louis DeVries Patricia Gold

In Honor of Kathleen Murphy Adam Wagenbach

In Honor of Donald Dunn’s 98th Birthday Julia and Milton Baughman Lynn Elliott Jim Ginter Paul Werth Associates, Inc. Suzanne Karpus Peggy Lazarus Mary Lazarus Cordelia Robinson Lane & John Rothschild David Schooler Elizabeth Williams

In Honor of Cordelia Robinson Wayne Lawson and Bill Mitchell In Memory of Sammy Julia Armstrong James and Nancy Buchanan Anonymous In Memory of Beth Navin Mr. and Mrs. David H. Swanson, Jr. In Memory of Dana Navin Schultz George and Suzanne Apostolos Cindy and John Deliman Patt and Chuck DeRousie Harriet and Scott Donaldson Carol and Michael Dove

Steven Hillyer Wayne and Miriam Irwin Diana Jones John Jones Gavin and Alice Larrimer Lisa and Michael Maggard Domenick Mancini Deborah and Gordon Moskal Hugh Schultz Emily Prieto David and Dorothy Pritchard ProMusica Sustaining Board Mary Yerina and Bob Redfield Stephanie and Grant Stephenson Mr. and Mrs. David H. Swanson, Jr. Mr. and Mrs. Thomas Tripp Dyann and Joel Wesp Anonymous In Memory of Marilyn Paulsen Derek Paulsen Gaige Paulsen In Honor of Susan Quintenz Erie Chapman Foundation, Nashville, Tennessee In Memory of Pat Ronsheim Debbi Burns Laurie MacKenzie Crane Joyce Fasone Mary Beth Hirsch Judi Moseley Sally Sayre Miriam Skapik Maddy Weisz

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In Memory of Tydvil Thomas Patt and Chuck DeRousie Harriet and Scott Donaldson Lisa and Michael Maggard David and Dorothy Pritchard ProMusica Sustaining Board Dyann and Joel Wesp In Honor of Koko Watanabe Elizabeth Williams In Memory of Andrea Wobst-Jeney Bob and Diane Barton Michael and Paige Crane Donald G. Dunn Beth Grimes-Flood and Tom Flood National Electric Coil/Rail Products International Cordelia Robinson In Honor of Linda Woggon Julie and James Henahan

For more information on making a perpetual gift to the ProMusica Endowment Fund, please contact the ProMusica Development Office at 614.464.0066 ext. 104.

Play Us Forward Donors ProMusica thanks the following who have generously donated an instrument or contributed to help fund our “Play Us Forward” outreach program. Support for “Play Us Forward” helps provide musical instruments, instruction, and enrichment activities to middle-schoolers at no cost to students or their families. If you wish to participate to ensure the program’s sustainability, please visit promusicacolumbus.org or contact 614.464.0066 for more information. Thank you for making musical opportunities possible for the youth in our community! Contributions listed were received for the 2020-2021 school year.

INDIVIDUALS Jennifer Annon Chris Bartlett Julia and Milt Baughman Robert Byrd Darlene Foust Carolyn Gifford Katherine E. Hancock Steven Hillyer Caryn Knott Hanci Newberry Anna Maddox Karen Koger Ann Kriewall Tim Maghie Angie Schafrath Stephanie Spence Connie Willis

SUPPORT FROM CORPORATIONS & FOUNDATIONS: Ingram-White Castle Foundation Key Bank The Robert and Hattie Lazarus Fund of the Columbus Foundation The Loft Violin Shop Ohio Arts Council Puffin Foundation West

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Jones Day proudly supports ProMusica Chamber Orchestra and its commitment to world-renowned classical music experiences. Why Jones Day? Binding energy, conviction, and credibility arising from shared professional values. 2500 LAWYERS. 43 LOCATIONS. 5 CONTINENTS. ONE FIRM WORLDWIDE.® JONESDAY.COM

The Columbus Foundation celebrates organizations, like ProMusica, that bring vibrancy and innovative shape to our community through the arts.

Questions? Contact us at 614/251-4000 or giving@columbusfoundation.org.

columbusfoundation.org

Learn more about Adam’s story and other Columbus artists, performances, exhibitions, concerts, public art and more at ColumbusMakesArt.com.

Supporting and advancing the arts and cultural fabric of Columbus.

GCAC.org

Design: Formation Studio

Borrowing techniques and subject matter from graffiti, ancient mythology, and abstract painting, Adam Hernandez likes to describe his art as a kind of “ghetto hieroglyphics.” He is inspired by both the support and the friendly competition he finds in Columbus. “I think competition forces artists to keep pushing their boundaries and in turn some really rad art gets created.”

Photo: Chris Casella

I AM ADAM HERNANDEZ. PAINTING IS MY ART.

Four Columbus Area Locations

Convention Center • Dublin Grove City • Polaris D R URY H O T E L S . C O M

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800- D RU RY IN N

To new heights & new memories Hilton Columbus Downtown sits in the heart of the Short North Arts District, walking distance from hundreds of restaurants, bars, boutiques and entertainment venues. In fall 2022, the hotel will unveil its newest addition, a 28-story tower offering 4 new food & beverage outlets and breathtaking views of the city. Relax, unwind, and make new memories at Hilton Columbus Downtown.

Hilton Columbus Downtown is a proud supporter of ProMusica Chamber Orchestra! 401 N. High Street, Columbus OH 43215 hiltoncolumbusdowntown.com

Porter Wright is proud to support ProMusica Chamber Orchestra’s dedication to a world-class and unique classical music experience. Congratulations on another successful season!

SEASON SUPPORT

MEDIA SPONSOR

 614.464.0066 • www.promusicacolumbus.org