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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

As a firm providing wealth management services to clients, UBS Financial Services Inc. offers both investment advisory services and brokerage services. Investment advisory services and brokerage services are separate and distinct, differ in material ways and are governed by different laws and separate arrangements. It is important that clients understand the ways in which we conduct business and that they carefully read the agreements and disclosures that we provide to them about the products or services we offer. For more information, visit our website at Certified Financial Planner Board of Standards Inc. owns the certification marks CFP® and Certified finanCial PlannerTM in the US. © UBS 2019. All rights reserved. UBS Financial Services Inc. is a subsidiary of UBS AG. Member FINRA/SIPC. CJ-UBS-626387638 Exp.: 08/31/2020

CEO Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Music Director Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Creative Partner & Principal Guest Artist Biography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Important Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Boards and Administration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1 Opening Night Biographies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 1 About the Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 2 Vadim & Friends Biography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 8 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 9 About the Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 0 Meet the Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 2 Financial Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 5

Season support Season partners ProMusica Chamber Orchestra 620 East Broad Street – Suite 300, Columbus, OH 43215 614.464.0066 •

Program Design:

Orchestra & Musician photos:

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. Highlights include our ongoing commitment to championing new works, as we perform the world premieres of our 68th and 69th commissions from composer/ pianist Stewart Goodyear and 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 | 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, or stop by the ProMusica office from 9:00am-5:00pm, Monday-Friday, 620 East Broad Street, Suite 300.


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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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 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 C  reative Partner & Principal Guest Artist Yvette Boyer Finance 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 Loann Crane 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

+ Executive Committee Member 2 0 2 1 - 2 2 S E A S O N |


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

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 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*

Contact the Sustaining Board at 2 0 2 1 - 2 2 S E A S O N |

Marybeth McDonald Susan McDonough Jane McMaster 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* Michael Maggard Anne Powell Riley Elizabeth Sawyers Marquell Segelken * New or returning member

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


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

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


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 69 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 three composer/ performers to the Southern Theatre stage including Xavier Foley, Stewart Goodyear, and Joshua Roman.

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October Guest Artist

Xavier Foley Xavier Foley is known for communicating his virtuosity and passion for music on the doublebass, which is rarely presented as a solo instrument. Winner of a prestigious Avery Fisher Career Grant, he has been recognized on New York WQXR’s "19 for 19" Artists to Watch list and featured on PBS Thirteen’s NYC-ARTs. Also a composer, Xavier was co-commissioned by Carnegie Hall and the Sphinx Organization for a new work entitled For Justice and Peace for Violin, Bass, and String Orchestra, which was recently performed at venues including Carnegie Hall as part of a program designed to promote social justice. As concerto soloist with orchestra, he has performed with the Atlanta Symphony, Philadelphia Orchestra, Nashville Symphony, Brevard Concert Orchestra, Victoria Symphony, Sphinx Symphony and Sphinx Virtuosi at Carnegie Hall. Xavier won the 2016 Young Concert Artists International Auditions along with four performance prizes and a Paiko Foundation Fellowship, and First Prizes at Astral’s 2014 National Auditions, Sphinx’s 2014 Competition, and the 2011 International Society of Bassists Competition. In 2018, he made his acclaimed New York recital debut at Merkin Concert Hall and his Washington, DC debut at the Kennedy Center’s Terrace Theater. The program included two of his own compositions. He has also performed at Carnegie Hall as a Laureate of the Sphinx Competition, at the Young Concert Artists Series at Alice Tully Hall and the Morgan Library, and


for Boston’s Isabella Stewart Gardner Museum, HarrimanJewell Series, and Buffalo Chamber Music Society. This season, Xavier will perform as soloist with the Dallas Symphony, Atlanta Symphony, Stamford Symphony, and Saint Paul Chamber Orchestra. He will also perform recitals at Ithaca College, Mesa Arts Center, Chamber Music Charleston, University of Southern Mississippi, and will appear with the Chamber Music Society of Lincoln Center and La Jolla Music Society. An active chamber musician, Xavier has appeared at the Marlboro Music Festival, Tippet Rise Music Festival in Fishtail, MT, Bridgehampton and Skaneateles (NY) Festivals, New Asia Chamber Music Society in Philadelphia, South Mountain Concerts, Wolf Trap, and with New York’s Jupiter Chamber Players. A native of Marietta, GA, Xavier is an alumnus of the Perlman Music Program, and earned his Bachelor of Music from the Curtis Institute of Music working with Edgar Meyer and Hal Robinson. His double bass was crafted by Rumano Solano. Xavier Foley appears by arrangement with Young Concert Artists, Inc.

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October Guest Artist

Eunice Kim A young artist with a unique voice, violinist Eunice Kim has been proclaimed “just superb” by The New York Times and “a born performer” by Epoch Times. A native of the San Francisco Bay Area, the Astral Awardwinning violinist has been featured soloist with The Philadelphia Orchestra, Louisville Symphony, Korean Broadcasting Symphony, Seongnam Philharmonic and Bakersfield Symphony, among others. Eunice Kim has appeared on multiple occasions as soloist with the Saint Paul Chamber Orchestra in a wide variety of repertoire, including an eight-concert regional tour of the Saint-Saëns Introduction and Rondo Capriccioso. With the Albany Symphony, she recorded George Tsontakis’s Unforgettable for Naxos Records. Her 2021 season includes the Beethoven Violin Concerto with the Eau Claire Chamber Orchestra. As a guest artist for Curtis on Tour, she has performed in Taiwan, Hong Kong, South Korea, and Germany with violist Roberto Díaz, and appeared at both the Library of Congress and the United Nations for Secretary General Ban Ki-moon. An avid chamber musician, Ms. Kim has appeared at Music at Angel Fire, Music@Menlo, Ravinia’s Steans Institute of Music, Philadelphia Chamber Music Society, SphinxConnect, Marlboro Music School and Festival, and has been a frequent guest artist at the Tippet Rise Art Center. She has performed and taught internationally at the Teatro Del Lago Festival in Chile and the Valdres Music Academy in Norway.

Her collaborations include concerts with such prominent artists as Miriam Fried, Nobuko Imai, Peter Wiley, Gary Hoffman, Ralph Kirshbaum, Cynthia Raim, and eighth blackbird. With pianist Xiaohui Yang, she has an ongoing performance partnership which has included recitals throughout the United States. Recent highlights included return engagements from New Orleans to New Mexico and a debut at the California Center for the Arts, Escondido. With double-bassist Xavier Foley, Eunice Kim has created an adventuresome duo, performing a mix of repertoire from the Baroque onwards, including new compositions by Mr. Foley. Their 2021 schedule includes performances of his new double concerto For Justice and Peace with the New West Symphony, the Stamford Symphony, and ProMusica Chamber Orchestra in Columbus. Eunice Kim’s creative work also includes time with Ensemble39, a contemporary quintet of strings and winds devoted to commissioning new music and pushing the boundaries of the concert experience. Eunice Kim has degrees from the San Francisco Conservatory of Music and from the Curtis Institute of Music, where she studied with Ida Kavafian. She served as concertmaster of the Curtis Symphony Orchestra, was the recipient of the Rose Paul Fellowship and was awarded the Milka Violin Artist Prize.

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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 Wilson 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

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 Dwight Parry oboe Mark Kleine clarinet Jessica Findley Yang bassoon Ansel Norris trumpet Mark Grisez trumpet Brian Mangrum horn Vladimir Gebe violin Yael Senamaud viola Amanda Grimm viola Boris Astafiev bass ORCHESTRA MANAGER Mariana Szalaj The Regie & David Powell Chair

TRUMPETS Vacant, principal The Susan L. Quintenz Chair Timothy Leasure* The William & Wendy Faust 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

TIMPANI & PERCUSSION Renee Keller, principal The Michael & Jody Croley Jones Chair

The Musicians of the ProMusica Chamber Orchestra are members of, and represented by, the Central Ohio Federation of Musicians, Local 103 of the American Federation of Musicians.

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Opening Night Xavier Foley, double bass & composer Eunice Kim, violin Southern Theatre // Sunday, October 10 // 7:00 PM

BACH/ arr. Clarice Assad

Suite for Lower Strings 


 "For Justice and Peace" for Violin, Bass, and String Orchestra   Xavier Foley, double bass Eunice Kim, violin BOTTESINI/arr. Klaus Trumpf

Double Bass Concerto No. 2 in B Minor  I . Allegro II. Andante III. Allegro Xavier Foley, double bass


Intermission lasts 15 minutes BEETHOVEN

Symphony No. 7 in A Major, Op. 92 I. Poco sostenuto – Vivace II. Allegretto III. Presto IV. Allegro con brio

Xavier Foley appears by arrangement with Young Concert Artists, Inc. Bass Concerto No. 2 in B Minor by Bottesini/Trumpf presented under license from G. Schirmer Inc. and Associated Music Publishers, copyright owners. Stay for Coda: Post-Concert Conversation. Meet David Danzmayr, Xavier Foley, and Eunice Kim, and learn more about tonight's program. 2 0 2 1 - 2 2 S E A S O N |


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

Clarice Assad (b. 1978): Suite for Lower Strings

Instrumentation: Scored for string orchestra Duration: Approximately 10 minutes Born in Rio de Janeiro, Clarice Assad maintains a highly active career as both a composer and performer. Her scores have been played by orchestras and chamber ensembles across the globe, including ProMusica (2012), while her recent commissions by the Camerata Pacifica, the League of American Orchestras, the Oregon Symphony, the Saint Paul Chamber Orchestra, the LA Philharmonic and the Philadelphia Orchestra speaks to her current popularity. Assad, a Grammy-nominated composer, is also a pianist and vocalist who has shared the stage with artists such as Bobby McFerrin and Paquito D’Rivera. While much of her work reflects a love of her native Brazil, Assad’s Suite for Lower Strings, from 2009, has more in common with the Baroque in general and with Bach specifically. Tonight, we will play the final three movements of the five-movement suite, which the composer describes as a ‘fantasy.’ You will no doubt be familiar with her Bach quotations, such as the aria “Sleepers Awake” from Cantata BWV 208 and the opening Prelude form the First Suite for Solo Cello, tunes that weave in and out of the musical fabric and which Assad imbues with a rich and inventive musical vocabulary. As the title of the work suggests, Assad has sought to emphasize the ensemble’s lower strings, lending the cellos, violas and basses the melodic material Bach and his contemporaries would, more often than not, have traditionally handed to the violins.


FROM THE COMPOSER: Xavier Foley (b. 1995): For Justice and Peace Instrumentation: Scored for violin, double bass, and string orchestra Duration: 8 minutes

"I was approached by the Sphinx Organization to create a double concerto for violin, double bass, and string orchestra that marks the 400 years of slavery ever since the arrival of the slave ship "White Lion" (1619) in Jamestown, Virginia. The finished work called "For Justice and Peace" ended up featuring both a gavel and a chorus; the players in the string orchestra would sing the vocal parts in addition to playing their instruments. Both the gavel and the chorus represent past experiences of the first African slaves in Jamestown. The gavel in the work represents the multiple occasions where African Americans attempted to seek justice in a courtroom that, over time, became less of a place of fair judgement for the person of color. The chorus in the concerto was used to represent the moments where African slaves would sing together in an attempt to evoke feelings of comfort and joy during a time where a majority of privileges and basic human rights were revoked on the basis of skin color. The lyrics were personally chosen to reflect the slaves plea for equity and justice."

Giovanni Bottesini (1821-1889): Double Bass Concerto No. 2 in B Minor

Instrumentation: Scored for double bass and strings Duration: 15 minutes If the word “virtuosic '' doesn't leap to mind when you see or hear the double bass, then you’re probably in good company. On average, this seemingly unwieldy instrument is most often regarded as the accompanimental backbone of the orchestra (or, for that matter, a jazz ensemble), as it slowly lumbers through the orchestral thicket, a gentle beast among its more lithe musical companions. That said, the king of strings hasn’t lacked its esteemed virtuosi. Giovanni Bottesini is generally thought of as the first, a Lombardy-born son-of-a-clarinetist who evidently took up the bass in order to secure a scholarship at a school short of bassists. Bottesini soon developed into one of the

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greatest exponents the instrument has ever known and while he may not have exuded the devilish allure of Paganini, whose dazzling violin playing and rumored connections to Lucifer cast a spell over European audiences, parallels were often enough drawn between Bottesini’s abilities on his own instrument and that of his Italian compatriot. Like Paganini, Bottesini composed works designed to exploit his own virtuosic powers and impress his listeners, as is the case with his Second Concerto, performed tonight. But unlike his Italian colleague, Bottesini also thought beyond his instrument, composing string quartets and other ensemble works, an oratorio and a handful of operas (during the intermissions Bottesini often took center stage, entertaining his audience with his bass pyrotechnics). He was also in demand as a conductor and was selected by none other than Verdi to conduct the 1871 world premiere of Aida in Cairo. The Second Concerto, in B minor, is cast in the standard three movement fast-slow-fast structure, opening with lyrical material before launching into the rapid passagework Bottesini’s listeners would have awaited, all leading up to the virtuosic cadenza near the movement’s close. As a Romantic-age composer, however, Bottesini also prided himself on tuneful melodies, which allowed him to play to exploit the gorgeous tone of his Testore bass, one of the greatest double basses ever built (the instrument is currently owned by a collector in Japan). Thus, the slow second movement is richly melodic, reflective of the composer’s operatic arias, while also exploiting the instrument’s tremendous range. The spirited finale reflects Bottesini’s dramatic flair for the stage and culminates in another cadenza, before a charmingly folksy coda drives the music to its thrilling closing bars.

Ludwig van Beethoven (1770-1827): Symphony No. 7 in A Major, Op. 92

Instrumentation: Scored for pairs of flutes, oboes, clarinets, bassoons, horns and trumpets, timpani and strings Duration: 36 minutes Beethoven, for the Romantics, was the misunderstood genius personified, a man who defied tremendous hardships, conquered fate at the darkest hours, dedicated his life to

his art and professed themes of universal brotherhood. Deaf, driven and direct, Beethoven literally and figuratively refused to bow to the aristocracy because he considered himself equally noble. Musically, he went where no composer had gone before, offering up symphonies that plumbed the depths of human emotions, from grief and anger to unbridled joy. It is this latter quality that dominates Beethoven’s Seventh Symphony. Having taken on themes of heroics and dissolution (3rd Symphony), the struggle from dark to light (5th Symphony) and nature’s divine essence (6th Symphony), Beethoven was now moved by a wholly different source of inspiration: dance. By all accounts a lousy dancer himself, he nevertheless understood its rhythms, inherent energy and drive, and this was what underscores his beloved 7th. To be sure, Beethoven is not evoking the courtly minuet as danced in polished shoes within Vienna’s Hofburg palace but the raucous foot stomping of the Austrian folk. For a little under forty minutes, we are forced to set aside our conceptions of Beethoven the misanthrope and instead are offered up the image of a composer in the full swing of life, a man who did nothing halfway. For all its Bacchic intentions, the 1812 A major Symphony remains couched within the classic architecture of Beethoven’s day. The first movement even opens with a slow Haydnesque introduction—the longest symphonic introduction Beethoven would ever compose—that maps out the symphony’s significant tonal relationships. As the music cascades into the Vivace, we might consider the nature of the dotted motive—long-short-long, long-shortlong—which drives the score incessantly forward. This is Beethoven at his most obsessive, a hallmark, along with the explosive dynamic shifts and abrupt modulations, of his “middle period” scores. There is no true slow movement in this symphony, rather an A minor Allegretto (a little lively), which only seems slow in comparison with that which surrounds it. Beethoven casts the movement as a double set of variations, which banks back and forth between two main ideas, re-inventing each anew. Listen for the mysterious fugato passage about six minutes in and the explosive variation that follows, as well as to the movement’s colorful final phrases, which Beethoven divides up among families of instruments. The scherzo third movement opens with explosive force in F major and drives with unabated joyousness to its D major

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trio, propelled forward by rhythmic energy and humorous percussive interjections. The calmer trio at the center offers momentary relief, at least until the music swells majestically. As he does in several works from this period, Beethoven tacks on an additional B-A section to the traditional A-B-A minuet (thus A-B-A-B-A), building an architecture of royal proportions. The symphony concludes with a relentless Allegro con brio finale, a movement of whirling intensity used to great effect in the movie Breaking Away and which the noted British musicologist Sir Donald Tovey described as “bacchic fury.” Although we are immediately swept up in the music’s rhythmic vitality, it should be noted that origins of the melody, as with the preceding scherzo, reside in true folk music (the scherzo draws on an Austrian peasant song and this finale an Irish folk song that Beethoven had previously arranged). This sonata-form movement includes an expansive development and a sweeping coda, the latter featuring a triple forte dynamic (fff), a rare event even for one of Beethoven’s explosive temperament.

The premiere of the Seventh marked one of the most successful and colorful musical events the composer ever experienced, in no small part a consequence of the score having been well rehearsed—which was often not the case—and the quality of the ensemble. Beethoven stocked his band with some of Europe’s greatest players, and violinist Ludwig Spohr, a member of the violin section, noted Beethoven jumping in the air in a forte passage. Some naturally thought Beethoven mad, yet the composer, who regarded this symphony as one of his best, was more likely carried away by his musical celebration of life. How better to round out the opening concert of our 43rd season?

About the Program Notes Author

Marc Moskovitz In addition to his work as principal cellist of 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) .


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© Marc Moskovitz

On behalf of the ProMusica Musicians and Administrative Staff

In memory of

Donald G. Dunn With gratitude and appreciation for his dedication, loyalty, love and care given to ProMusica. Thank you for your generosity, and for bringing people together through conversation, music and kindness.

The Timashev Family Music Building — Opening Autumn 2022 Part of the new Arts District at The Ohio State University


A place for making exceptional music, exploring educational methodology, conducting groundbreaking research and stimulating creative expression and artistic growth. Explore events and outreach at Learn more about the Arts District at

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

Vorys, Sater, Seymour and Pease LLP 52 East Gay Street, Columbus, Ohio 43215 614.464.6400


November Guest Artist

Julian Rhee

Julian Rhee is quickly gaining recognition as an emerging artist and performer, praised for his “sophisticated, assured tone, superb intonation, and the kind of poise and showmanship that thrills audiences.” —The Strad An avid soloist, Julian made his Milwaukee Symphony Orchestra debut at age 8, and has gone on to perform with orchestras including the Aspen Philharmonic, Wisconsin Philharmonic, San Jose Chamber, Avanti, San Diego, Pittsburgh, Eugene, and Madison Symphony Orchestras. He has performed in an array of venues including Ravinia’s Bennett Gordon Hall, Heinz Hall, the Overture Center for the Arts, Teatro El Círculo in Argentina, The Musikverein in Vienna, Bartok Hall in Hungary, New World Center, and the John F. Kennedy Center. Julian is a winner of the 2021 Astral Artists’ National Auditions, and in January of 2020, was named the first prize winner of the Elmar Oliveira International Competition, where he was also awarded the special Community Engagement Award. A top prize winner of the Johansen and Klein International Competitions, Julian has performed at the John F. Kennedy Center as a Presidential Scholar and received his medal at the White House.

A passionate chamber musician, Julian’s performance on violin and viola earned him and his String Quartet first prize in the A.N. & Pearl G. Barnett Chamber Music Competition, Rembrandt, Fischoff and the M-Prize International Chamber Arts Competition. He has performed at and attended festivals including the Heifetz Institute, Four Seasons Chamber Music Festival, Ravinia Steans Institute, Rockport Music, North Shore Chamber Music Festival, and Pierce Hill for the Performing Arts. He has also appeared alongside Time for Three on NPR’s From the Top, Jupiter Chamber Players, 98.7 WFMT’s Introductions, Milwaukee Public Television, and Wisconsin Public Radio and Television. Julian studied with Almita Vamos and Hye-Sun Lee at the Music Institute of Chicago Academy. He is currently pursuing a Bachelor of Music degree with Miriam Fried at the New England Conservatory. Julian Rhee’s appearance is in partnership with the North Shore Chamber Music Festival’s “Stars of Tomorrow!” program.

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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 Wilson 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

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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 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 103 of the American Federation of Musicians.

Vadim & Friends Vadim Gluzman, violin & leader Julian Rhee, violin Southern Theatre // Saturday, November 6 // 5:30 PM Southern Theatre // Sunday, November 7 // 7:00 PM


Septet in E-flat Major, Op. 20 I. Adagio – Allegro con brio  II. Adagio cantabile III. Tempo di Menuetto (Andante) IV. Tema con Variazioni V. Scherzo: Allegro molto e vivace VI. Andante con moto all Marcia – Presto


Intermission lasts 15 minutes SCHNITTKE

Concerto Grosso No. 1 I.  Preludio II. Toccata III. Recitativo IV. Cadenza V. Rondo VI. Postludio Vadim Gluzman, violin Julian Rhee, violin

Julian Rhee's appearance is made possible by:

Julian Rhee’s appearance is in partnership with the North Shore Chamber Music Festival’s “Stars of Tomorrow!” program. Concerto Grosso No. 1 by Schnittke presented under license from G. Schirmer Inc. and Associated Music Publishers, copyright owners. 2 0 2 1 - 2 2 S E A S O N |


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

Ludwig van Beethoven (1770-1827): Septet in E-flat Major, Op. 20 Instrumentation: Scored for violin, viola, cello, bass, clarinet, bassoon and horn Duration: 40 minutes The 18th century, and in particular, 18th century Vienna, was awash in serenades and divertimentos, light music intended, as the latter term suggests— as a “diversion”. Such music was featured as entertainment in all sorts of venues, from the ballroom of the nobility and upper classes to the out of doors of the common folk. By its very nature, the genre offered a foil to more serious symphonies, along with more freedom to the composer, who could incorporate whatever combinations of instruments and movement types struck his—or much less common—her fancy. Beethoven scored his E-flat Septet for seven instruments, a choice that reflected the essence of the classical symphony—a representation of strings, winds and brass—without the orchestral size or usual doublings. Within this setting he then placed particular emphasis on the violin and clarinet.

Beethoven’s Septet is thus youthful in spirit yet delivered up by the hand of a master. And while its six movements may appear random, they actually reveal a logical architecture. At the work’s emotional core are the Adagio cantabile and the Theme and Variations, the latter which Beethoven marks Andante (a casual walking tempo). The Adagio amply illustrates that Beethoven—whose obsession would soon swing toward rhythm and the manipulation of small melodic motives—could spin out melodies with the best of them when so inspired, while the Theme and Variations showcases Beethoven’s seeming limitless powers of invention. He would return to this scheme time and time again throughout his life, in nearly every genre he composed. Whereas a formal symphony would have embraced either a courtly minuet or a faster-paced scherzo, the serenade setting allowed Beethoven to include examples of both; the latter is ushered in with the French horn’s hunting call while the relaxed trio at its center brings the cello to center stage. The first and last movements confirm the composition’s overall key of E flat and themselves offer similar architectures, each opening with a slow introduction before moving on to more spirited tempos. Take note of the mock seriousness of the March that belies the finale’s playfulness (marked Presto). Towards the movement’s end, Beethoven cleverly switches into orchestral mode, or at least gives the impression of having composed a concerto, first providing the violin with a formal cadenza and then wrapping things up almost symphonically, brilliantly leaving us with the impression that we have been listening to an orchestra all along!

Beethoven’s Op. 20 was, like Mozart’s works of a similar nature (and whose models proved inspiration to Beethoven’s own) entertainment through and through. That it sprang from a rather idyllic period of the composer’s life no doubt helps to account for its popular atmosphere. Though in 1799, the year of its composition, Beethoven was still regarded as an up-and-coming composer (his First Symphony would follow a year later, and the first string quartets appear a year after that), he had established himself among the foremost of Europe’s piano virtuosi, numbered members of the nobility among his piano class, was purchasing fashionable clothes and learning to dance and had no inkling of the devastating deafness that would begin to surface only a year or so later.


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Alfred Schnittke (1934-1998): Concerto Grosso No. 1 Instrumentation: Scored for two solo violins, harpsichord, prepared piano and string orchestra Duration: 30 minutes Among the challenges faced by modern composers is how to create an engaging piece of music that doesn’t rely on memorable melodies, the generating factor of a great deal of music up until the last century or so. The start of the 20th century witnessed the musical bushwacking of figures like Debussy, Stravinsky and Schoenberg, composers who abandoned age-old techniques in search of new ways of doing things. That charge was subsequently taken up by many who followed, among them American John Cage and the Russian-born, Viennese-and-Moscow-trained Alfred Schnittke. While Schnittke’s years in the Austrian capital cemented his connection to his musical past, he nevertheless developed one of the modern world’s most sophisticated and eclectic musical minds, as amply illustrated by the work performed tonight, the Concerto Grosso No. 1 from 1976-77. The idea for the composition was sparked by two violinists, Gidon Kremer and Tatiana Grindenko, but the music’s true spiritual inspiration springs from composers like John Cage, a musical maverick whose innovations included breaking free of the tyranny of the barline and questioning the whole concept of “what is music”. Of course, the harpsichord and the concerto grosso genre, an ensemble work that pitted two or more soloists against a larger ensemble, were both products of the Baroque, both of which soon fell out of fashion. In his Concerto Grosso No. 1 Schnittke incorporates both, along with a few noticeable Baroque musical gestures and movement types, though it is Schnittke’s eclectic language that is arguably most compelling to our modern sensibilities. These include the use of the prepared piano heard at the start (coins inserted into the piano’s upper register lend it its otherworldly timbre), sonic bursts of explosive dissonance and occasional aleatoric gestures (moments left to chance), suggestive of the innovations of John Cage and, more recently, Krzysztof Penderecki.

The thirty-minute score opens with a sombre and sparse Preludio, introducing us to Schnittke’s challenging yet always arresting musical language. This moves directly into the Toccata, a Baroque composition designed to display the performer’s dexterity. The throwback language of the start quickly gives way to rapid give and take among the ensemble and frolicking freneticism exuded by the solo violins. The Recitativo’s iciness provides a perfect foil to the activity that preceded it, characterized by the juxtaposition of Schnittke’s chordal writing for the entire ensemble and the bracing dialogue of the soloists. This unsustainable intensity then segues directly into a cadenza for the two violins, a call and response exchange that includes demanding arco and pizzicato—playing with and without the bow, respectively—and improvisational passagework. A flourish of harpsichord arpeggios ushers in the Rondo, whose opening rapid, four-note gesture serves as the movement’s recurring refrain. It will be set off by a host of other ideas, including no less than a seductive Tango! The Rondo’s explosive drive eventually gives way to shocking E major/C sharp minor chords played by the soloists, an example of what Schnittke deemed “polystylism”. This abrupt shift sets up the return of the mysterious “church bells” of the opening and the concluding Postludio, as the sustained strings dissolve into the ether. The Concerto Grosso No. 1 was among the works that helped launch Schnittke’s reputation in the West and though plagued by poor health, the composer managed to write some of the most significant works of our time and for some of the era’s foremost performers (Gidon Kremer and cellist Mstislav Rostropovich, to name but two). This included the composition of nine symphonies, by which time he was so ill that his manuscript was all but illegible. If the “nine symphonies” model—as established by Beethoven and followed up by Schubert, Dvorak and Mahler, among others—is any indication of greatness, then Schnittke certainly deserves his place in the composers’ pantheon. And while you may not go out whistling tunes from the Concerto Grosso as you might with Beethoven’s Septet, you nevertheless will have experienced one of the most powerful and captivating works of the last half century.

© Marc Moskovitz 2 0 2 1 - 2 2 S E A S O N |


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 Wilson 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 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 | 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, 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 |

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 |

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

2 0 2 1 - 2 2 S E A S O N |

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

2 0 2 1 - 2 2 S E A S O N |

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 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

2 0 2 1 - 2 2 S E A S O N |

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

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

Supporting and advancing the arts and cultural fabric of Columbus.

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


Four Columbus Area Locations

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

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

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!



 614.464.0066 •

Profile for ProMusica Chamber Orchestra

ProMusica | October-November 2021 Program Book  

Digital concert program book for Opening Night (October 10, 2021) and Vadim & Friends (November 6-7, 2021) concerts at the Southern Theatre...

ProMusica | October-November 2021 Program Book  

Digital concert program book for Opening Night (October 10, 2021) and Vadim & Friends (November 6-7, 2021) concerts at the Southern Theatre...

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