ProMusica Worthington Series 2020 Program Book

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CEO WELCOME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

MUSIC DIRECTOR BIOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

CREATIVE PARTNER & PRINCIPAL GUEST ARTIST BIOGRAPHY. . . . . . . . . . . . . . . . . . . . . . . . . . .

ABOUT THE ORCHESTRA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

IMPORTANT INFORMATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

BOARDS AND ADMINISTRATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

TCHAIKOVSKY VIOLIN CONCERTO Biography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

About the Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

AN EVENING OF STRING QUARTETS Biographies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

About the Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

TANGO IN PARIS Biographies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

About the Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

MOZART & THE MASTERS Biography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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:

Please recycle. Recycling bins are located in the lobby. If you’d like to save your program, that’s okay too. Thank you!

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Chief Executive Officer Dear Friends: Welcome to our 2019-20 season!

This year, Music Director David Danzmayr, Creative Partner Vadim Gluzman, and our ProMusica musicians will continue to bend and push musical boundaries. A remarkable roster of international guests including percussionist Colin Currie and violinist Esther Yoo will be showcased alongside our own brilliant talent. Each of our performances this season features the work of one or more living composers, as we continue to promote our ever-evolving art form. We will highlight the beautiful music of Wolfgang Danzmayr, father of our own David Danzmayr in January — and Caroline Shaw, the youngest composer to win the Pulitzer Prize at age 30 joins us in May for a powerful season finale alongside Brahms’ First Symphony.

ProMusica also adds three premieres under its belt this season — ­ the Ohio premiere of female composer Helen Grime’s Percussion Concerto; the U.S. premiere of Argentinian composer/performer Richard Scofano’s concerto for bandoneón and orchestra; and the world premiere of our 68th commission by composer and cellist Joshua Roman. And true to our trademark mix of innovation and tradition, our NAKED CLASSICS series continues with host Paul Rissmann and together we delve into the minds and magical works of Mozart and Schubert.

Whether you are a long-term subscriber, or new to the ProMusica experience, we welcome you! Our concerts are nothing without an audience, and your generous and warm-hearted response to ProMusica is an inspiration to us.

Thank you for your support and for sharing your evening with ProMusica.

Sincerely,

Janet Chen

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 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; and also participated in the Executive Fellowship Program with the Jefferson Center Academy for Leadership and Governance. Since 2006, Janet has served as Executive Director of ProMusica. In 2018, she was one of ten members representing Columbus at the Young American Leaders Program at the Harvard Business School. She was selected as one of Columbus Business First’s “Forty Under 40” and one of “19 Non-profit Innovators” by CityPulse Columbus. Janet has been featured in Columbus CEO Magazine, The Columbus Dispatch, and is a featured artist as part of Columbus, Ohio’s “Art Makes Columbus” marketing campaign.

In 2018, she was named a YWCA Columbus Woman of Achievement and honored by Columbus 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. Janet 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.

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Photo: Rick Buchanan Photography

From the

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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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 ubs.com/workingwithus. 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

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.

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.

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

Building these early successes into a far-reaching international career, Danzmayr has quickly become a sought-after guest conductor

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Photo: Marco Borggreve

Creative Partner & Principal Guest Artist

Vadim Gluzman

Universally recognized among today’s top performing artists, Vadim Gluzman brings to life the glorious violinistic tradition of the 19th and 20th centuries. 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.

The Israeli violinist appears regularly with major orchestras such as the Berlin Philharmonic, Boston Symphony, Chicago Symphony, Cleveland Orchestra, Israel Philharmonic, Leipzig Gewandhaus, London Symphony, Orchestre de Paris, Philadelphia Orchestra, and the Royal Concertgebouw. He collaborates with leading conductors including Riccardo Chailly, Christoph von Dohnányi, Tugan Sokhiev, Sir Andrew Davis, Neeme Järvi, Michael Tilson Thomas, Semyon Bychkov, Jukka-Pekka Saraste, Paavo Järvi, and Hannu Lintu. Festival appearances include performances at Lockenhaus, Ravinia, Tanglewood, Verbier, and the North Shore Chamber Music Festival in Chicago, founded by Gluzman and pianist Angela Yoffe, his wife and recital partner.

This season Gluzman gives the world premieres of a new violin concerto by Erkki-Sven Tüür with the HR Frankfurt Radio Symphony under Andris Poga, Joshua Roman’s Double Concerto with the ProMusica Chamber Orchestra, conducted by David Danzmayr, Moritz Eggert’s “Mir mit Dir” at the Kronberg Academy Festival, as well as UK premiere of Sofia Gubaidulina’s Triple Concerto with BBC Philharmonic under Omer Meir Wellber. He has given live and recorded premieres of other works by Sofia Gubaidulina, as well as Giya Kancheli, Elena Firsova, Pēteris Vasks, Michael Daugherty, and most recently Lera Auerbach.

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

by The Strad, BBC Music Magazine, ClassicFM, and others.

Distinguished Artist in Residence at the Peabody Conservatory in Baltimore, Gluzman performs on the legendary 1690 ‘ex-Leopold Auer’ Stradivari on extended loan to him through the generosity of the Stradivari Society of Chicago.

Highlights of his 2019-20 season include performances with Orchestre de Paris under Tugan Sokhiev and the Orpheus Chamber Orchestra in Carnegie Hall, concerts with the BBC Philharmonic, Detroit and Houston Symphony Orchestras, St. Petersburg Philharmonic, Lucerne Symphony, Dresden Philharmonic, Staatskapelle Weimar, and Orchestre National de Lyon. He will lead the Moscow Virtuosi Chamber Orchestra and the ProMusica Chamber Orchestra in Columbus, Ohio, where he serves as Creative Partner and Principal Guest Artist.

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Photo: Rick Buchanan Photography

OUR MISSION

To deliver a world-class chamber orchestra experience through: Innovative programming, Audience intimacy, Exceptional talent & Artistic excellence

About the Orchestra 8

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ProMusica is 37 musicians from all over the country who are redefining what it means to be a chamber orchestra. Led by Music Director David Danzmayr and Creative Partner, renowned violinist Vadim Gluzman, our vision is to engage, inspire, and connect people to the world around them through the joy of ProMusica. The orchestra both honors the classical traditions and champions the contemporary, with a deep commitment to new works, commissions and premieres.

collaborations with crossover artists including Jon Batiste, Steep Canyon Rangers, Time for Three, Ricky Skaggs & Kentucky Thunder, and Bela Fleck and the Flecktones. This is all 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.

Founded in 1979, ProMusica reaches a broad audience, performing at the intimate Southern Theatre in downtown Columbus in which it is the resident orchestra, and goes beyond the city limits, presenting concerts at the Worthington United Methodist Church. The orchestra presents an annual Summer Music Series of outdoor performances at the Franklin Park Conservatory & Botanical Gardens, and offers unique and intimate chamber ensemble concerts at non-traditional spaces including Natalie’s Coal-Fired Pizza, Brothers Drake Meadery, and Wolf’s Ridge Brewing. In 2017, ProMusica made its Chicago debut performing for a sold-out crowd at the prestigious North Shore Chamber Music Festival. Chicago Classical Review noted the ensemble’s “robust unified string timbre [was] most impressive, having an abundant Mozartean grace.”

ProMusica has won eight ASCAP awards for Adventurous Programming and has received additional honors, including from the Greater Columbus Arts Council and the Columbus Jewish Foundation. In 2015, 2016, and 2018, the orchestra was selected as a recipient of The Columbus Performing Arts Prize, an esteemed award designated to celebrate and support the exceptional artistic directors of Columbus’ performing arts organizations and their aspirations for creative growth. In April 2019, ProMusica was named one of the “5 Nonprofits to Watch”

by The Columbus Foundation.

Deeply rooted in our city’s cultural fabric, our outreach programs impact approximately 17,000 lives each season. ProMusica musicians travel to local schools serving as teaching artists, senior citizens attend working rehearsals, and underserved youth are given life-changing opportunities through the power of music.

Programs such as “Play Us Forward” offer integrated, in-school based music curriculum, while Storytime and family concerts at Columbus Metropolitan Library branches provide arts access in nurturing neighborhood environments. “Coda: Post-concert Conversations” offer the opportunity for a direct dialogue between audiences and guest artists — deepening engagement with the music and performers. Our free Summer Music Series demonstrates our unwavering commitment to offer accessible and transformative musical experiences to all residents in our community.

ProMusica’s performances are time-tested and modern, presented in ways that few orchestras can. Widely recognized as a national leader in promoting contemporary repertoire, we have commissioned 68 pieces and programmed over 120 world and regional premieres by composers including Pulitzer prize winners Kevin Puts and Aaron Jay Kernis, Joan Tower, Gabriela Montero, Michael Daugherty, Lera Auerbach, Gabriela Lena Frank, Mark O’Connor, Conrad Tao, and Joshua Roman. ProMusica has an active recording program with thirteen CDs released to date, including world premiere performances of our commissioned works. Our innovative NAKED CLASSICS series with renowned host and presenter Paul Rissmann, explores classical music in a fresh and completely approachable format. We are one of the few American chamber orchestras to have performed an entire Schubert Symphony Cycle (including Schubert scholar Brian Newbould’s finished versions of Unfinished and Symphony No. 10) and recently completed a two-year Beethoven Symphony Cycle.

Similarly to many of our international guest artists, we embrace an array of eras and influences. The orchestra has forged unique 2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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Important Information Latecomers will not be seated until the first convenient pause in the program.

We kindly request your cell phones and/or other electronic devices are silenced before the concert begins.

Photographing, videotaping, or sound recording of any performance without prior authorization from ProMusica is strictly prohibited.

Restrooms are located just outside the sanctuary. Upon exiting, the restrooms are to the left down a short hallway.

Look for signs for direction.

Special Needs Services are available. Please ask a volunteer or ProMusica staff member for assistance.

ProMusica can provide the following services with a minimum of four weeks’ notice before the concert date: • Concert guides in Braille or large print, or audio recording with program order, program notes and guest artist biographies.

• A sign language interpreter to interpret any vocal music that might be part of the program.

• Assisted listening devices for sound amplification.

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 $10 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.

Upcoming Events

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SUBSCRIPTION SERIES

WORTHINGTON SERIES

SOUNDS OF THE SEASON Saturday, December 14 // 5:30 PM Sunday, December 15 // 7:00 PM Southern Theatre Colin Currie, percussion David Danzmayr, conductor

AN EVENING OF STRING QUARTETS Saturday, February 29 // 5:30 PM Worthington United Methodist Church Katherine McLin, violin Jennifer Ross, violin Mary Harris, viola Marc Moskovitz, cello

TCHAIKOVSKY VIOLIN CONCERTO Saturday, January 11 // 5:30 PM Worthington United Methodist Church Sunday, January 12 // 7:00 PM Southern Theatre Esther Yoo, violin David Danzmayr, conductor MOZART & THE MASTERS Saturday, April 4 // 5:30 PM Worthington United Methodist Church Sunday, April 5 // 7:00 PM Southern Theatre Joshua Roman, cello & composer Vadim Gluzman, violin & creative partner David Danzmayr, conductor BRAHMS & SHAW Saturday, May 9 // 5:30 PM Sunday, May 10 // 7:00 PM Southern Theatre Caroline Shaw, vocalist & composer David Danzmayr, conductor

TANGO IN PARIS Saturday, March 7 // 5:30 PM Worthington United Methodist Church Victoria Moreira, violin Ilya Shterenberg, clarinet Joel Becktell, cello Ryan Behan, piano

NAKED CLASSICS NAKED CLASSICS: MOZART — JOURNEY OF A GENIUS Friday, April 3 // 8:00 PM Southern Theatre Paul Rissmann, presenter & host David Danzmayr, conductor

SPECIAL E VENT PROMUSICA SOIRÉE Saturday, February 1 // 8:00 PM Southern Theatre Renée Elise Goldsberry David Danzmayr, conductor

TO BUY TICKETS OR SUBSCRIBE, C A L L 6 1 4 . 4 6 4 . 0 0 6 6 E X T. 1 0 1 .

promusicacolumbus.org

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WISHING YOU A FANTASTIC SEASON, PROMUSICA!

SCHOOL OF MUSIC We proudly acknowledge ProMusica Chamber Orchestra members

FACULTY Robert Gillespie • Timothy Leasure • Jeanne Norton

2019–20 HIGHLIGHTS

Over 100 FREE student ensemble, faculty and guest performances Marching Band Hometown Concert • November 3 Music Celebration Concert • December 3 Opera & Lyric Theatre presents Stephen Sondheim's Into the Woods • March 28–29 Over 15 outreach programs for young musicians

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Proudly supports ProMusica Chamber Orchestra.

Stay after the concerts at the Southern Theatre for Coda: Post-Concert Conversations to fill your mind and your stomach with treats provided by Cornucopia!

Cornucopia is a provider of quality catering service in Ohio Cornucopia Comestibles, Inc. 2474 East Main Street, Columbus, OH 43209 (P) 614.231.6323 (F) 614.231.1149

We are proud to support ProMusica. We know that the arts are an inseparable part of our human journey. Through the good works done at ProMusica, performance and celebration of the arts inspire and enrich all our lives. So, we say thank you for this precious asset in our wonderful community. keglerbrown.com/involvement

Board of Trustees and Administration OFFICERS President Lee Shackelford, Physician Past President Joan Herbers, The Ohio State University Vice-President William Faust, Ologie Vice-President Matthew Fornshell, Ice Miller LLP Vice-President Kathryn Sullivan, Astronaut & Civic Leader Treasurer Robert Restrepo, CEO (retired), State Auto Secretary Bob Redfield, Civic Leader

TRUSTEES Lavea Brachman, Ralph C. Wilson, Jr. Foundation Ryan Crowley, Citi Lynn Elliott, Columbus Window Cleaning Betsy Farrar, Vorys, Sater, Seymour and Pease LLP Patricio Garavito, Cardinal Health Jacob Gibson, PNC Bank Brian Hall, Porter, Wright, Morris & Arthur LLP Laurie Hill, Civic Leader Brent Jackson, Fifth Third Bank Susan Kairis, Civic Leader Stephen Keyes, Abercrombie & Fitch Susan Lubow, BakerHostetler Bill McDonough John Pellegrino, ProMusica Musician Representative Susan Quintenz, Civic Leader Julie A. Rutter, American Electric Power Lynda Schockman, Huntington Bank Mark Sholl, Hilliard City Schools Todd Swatsler, Partner (retired), Jones Day Sergio Tostado, Jones Day EX-OFFICIO Mary Yerina, Sustaining Board Representative David Danzmayr, Music Director Janet Chen, Chief Executive Officer

ADMINISTRATION David Danzmayr Janet Chen Vadim Gluzman Yvette Boyer Sarah Gattis Ann Kriewall Matthew Kurk Brittany Lockman Mariana Szalaj Margaret Wells Lisa Wente

Music Director Chief Executive Officer C reative Partner & Principal Guest Artist Finance Manager Patron Services & Marketing Associate O perations & Community Outreach Coordinator D irector of Advancement & Engagement Director of Marketing O rchestra & Operations Manager Executive Assistant & Board Liaison Grants Consultant

TRUSTEES CIRCLE Artie Isaac, Chair Deborah Anderson Tom Battenberg Milt Baughman Mark Corna Peter Costanza Loann Crane Patt DeRousie Donald Dunn Jim Elliott Sylvia Goldberg Melissa Ingwersen Dr. Wayne Lawson Mary Lazarus Peggy Lazarus Nancy Marzella Dr. William Mitchell Richard Smith Elizabeth Williams Bernie Yenkin

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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

Sustaining Board The ProMusica Sustaining Board was founded in 1988 to expand community awareness about the orchestra by providing financial and volunteer support. Annual membership dues are $50 (Musician), $125 (Principal), and $200 (Concertmaster).

EXECUTIVE COMMITTEE Mary Yerina President Yvonne Burry Vice President Sally Baughman Secretary

MEMBERS-AT-LARGE Beverley Ervine Mary Faure Betty Giammar Marianne Mottley Laurie Schmidt-Moats Marquell Segelken Dyann Wesp

Michael Maggard Treasurer

CONCERTMASTER MEMBERS

Claudia Abrams Past President

Claudia Abrams Sally Baughman Yvonne Heather Burry Sandy Byers Maggie Cunningham Patt DeRousie Harriet Donaldson Lindsey Dunleavy* Carol Hershey Durell Beverley Ervine Betty Giammar Beth Grimes-Flood Laurie Hill Steven Hillyer Jody Croley Jones Michael Jones* Susan Kairis* Donna Laidlaw Lisa Maggard Jennifer Markovich Deborah Norris Matthews Marybeth McDonald* Colleen McNutt Marianne Mottley

APPOINTMENTS Jennifer Markovich Membership Yvonne Burry Special Events Lisa Maggard Marketing Jody Croley Jones and Bob Redfield Culinary Capers XXVI PAST PRESIDENT ADVISERS Donna Laidlaw

Larry Neal* Mary Oellermann Thomas O’Reilly Susan Quintenz Bob Redfield Laurie Schmidt-Moats Dana Navin Schultz Lee Shackelford Sallie Sherman Stephanie Stephenson Tyd Thomas Vincent Thompson* Gail Walter Jane Werum Elizabeth Williams Robert Wing Miriam Yenkin Mary Yerina PRINCIPAL MEMBERS Marilee Chinnici-Zuercher Ellen Kay Douglas Betsy Farrar Marion Fisher Rose Hume* Mary Lazarus Jonathan Lipps* Susan McDonough* Jane McMaster Dorothy Pritchard Anne Powell Riley Hugh Schultz Dyann Wesp Margie Williams

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MUSICIAN MEMBERS Ellen Bowden Donna Cavell* Janet Chen Lynn Elliott Mary Faure Anne Fornshell* Paul George Sue Gross Elayne Gunder Joan Herbers Jessica Kim Linda Kurtz Boyce Lancaster Michael Maggard Michael Robertson Elizabeth Sawyers Ryan Schick* Melissa Schmidt* Marquell Segelken Raven Tiem* Serie Zimmerman * New or returning member

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

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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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January Guest Artist

Esther Yoo In an era when technical perfection is a given, the spotlight inevitably shifts to interpretation, and Esther Yoo’s playing has been described as “mesmerising,” “soulful,” “spellbinding,” “intensely lyrical,” and “taking her audience into an enchanted garden.”

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She performs with many leading conductors – including Vladimir Ashkenazy (with whom she and the Philharmonia Orchestra recorded the Sibelius, Glazunov and Tchaikovsky concertos for Deutsche Grammophon), Gustavo Dudamel, Esa-Pekka Salonen, Thierry Fischer, Vasily Petrenko, Karina Canellakis and Andrew Davis – and orchestras such as the Philharmonia, Los Angeles Philharmonic, BBC Symphony Orchestra, Seoul Philharmonic, Deutsche Radio Philharmonie or the Royal Liverpool Philharmonic.

She has also performed at a range of prominent festivals including the BBC Proms and Aspen Music Festival.

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The Royal Philharmonic Orchestra appointed her as their inaugural Artist-in-Residence in 2018, through which Esther participated extensively in educational and outreach projects, alongside their concert performances in London and across the UK. Esther has appeared in recital at Lincoln Center and Wigmore Hall, and in 2018 she featured prominently on the soundtrack and accompanying Decca disc of the feature film, On Chesil Beach. The piano trio, Z.E.N., (which she co-founded together with fellow former BBC Radio 3 New Generation Artists Zhang Zuo and Narek Hakhnazaryan), tours widely in North America, Europe and Asia. They chose works by Brahms and Dvorak for their first recording and are currently preparing their second recording which, like the first, will be released on DG. Esther may be unique among classical soloists in being fully tri-cultural. She was born and spent her earliest years in the U.S., before receiving her education in Belgium and Germany, but she always retained her family’s proud Korean heritage. Having authentic roots in three continents may have contributed to her versatility and exceptionally broad range of expression and was unquestionably a factor in making her one of the most articulate and gifted communicators in the field of classical music.

Photo: Marco Borggreve

She began playing the violin at 4 and made her concerto debut aged 8. At 16 she became the youngest prizewinner of the International Sibelius Violin Competition and two years later she was one of the youngest ever prizewinners of the Queen Elisabeth Competition in 2012. In 2014 she became a BBC Radio 3 New Generation Artist and in 2018 Classic FM featured her in their Top 30 Artists under 30.

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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 Hillsdale Fund Chair Jennifer Ross, principal second The Joan M. Herbers Chair **Amy Cave The Randy & Marilyn Miller Chair Robert Gillespie The Wilson Family 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 Jane Werum 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 Nathaniel 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

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FLUTES Vacant, principal The Dana Navin Schultz Chair Vacant 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 Robert T. Bennett 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 Vacant The Denise & Barry Blank Chair TRUMPETS Vacant, principal The Susan L. Quintenz Chair Timothy Leasure The William & Wendy Faust Chair TIMPANI & PERCUSSION RenĂŠe Keller, principal The Michael & Jody Croley Jones Chair Rajesh Prasad The Bob Redfield & Mary Yerina Chair HARP Jeanne Norton, principal The Sustaining Board Chair

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HARPSICHORD Aya Hamada, principal The ProMusica Board Chair in memory of Ida Copenhaver ASSISTING MUSICIANS Alistair Howlett flute Kyra Kester flute Noah Kay oboe Krista Weiss clarinet Jessica Findley Yang bassoon Matt Oliphant horn Emily Shelley horn Bruce Henniss horn Ansel Norris trumpet Michael Charbel trombone Ryan Behan piano Vladimir Gebe violin Julian Maddox violin Yael Senamaud viola Gary Matz bass Nate West 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.

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.

Tchaikovsky Violin Concerto Esther Yoo, violin

Worthington United Methodist Church // Saturday, January 11 // 5:30 PM GOLIJOV ZZ’s Dream

TCHAIKOVSKY

Violin Concerto in D Major, Op. 35 I . Allegro moderato - Moderato assai II. Canzonetta: Andante III. Finale: Allegro vivacissimo Esther Yoo, violin

Intermission

Intermission lasts 15 minutes W. DANZMAYR

Elegie Thema - I. Phase - II. Phase - III. Phase

HAYDN

Symphony No. 75 in D Major I . Grave – Presto II. Poco adagio III. Menuetto – Trio IV. Finale: Vivace

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About the Music January

of South American folk, remains completely accessible, despite its unique nature. As its title suggests, this lazy and liquid work takes on a dreamlike hue, perfectly capturing the essence of the poetry which inspired the score:

The Jon Mac Anderson Program Notes underwritten by Porter, Wright, Morris and Arthur, LLP

ProMusica opens the New Year with the music of Golijov, ZZ’s Dream, a brief and almost nostalgic score. Tchaikovsky’s fiery Violin Concerto, with soloist Esther Yoo in the spotlight, will snap you right out of any dreaming and take you headlong into the romanticism of 19th century Russia and the pyrotechnic world of violin virtuosity. After introducing you to our music director’s father with the Elegie of Wolfgang Danzmayr, we’ll cap off the evening with Haydn’s Symphony No. 75, which took London by storm.

OSVALDO GOLIJOV (B. 1960): ZZ’S DREAM

Instrumentation: flute, oboe, clarinet, bassoon, horn, trumpet, trombone, vibraphone, harp, celeste and strings Composed: 2008 Premiered: Boston, 2008 Duration: 7 minutes THE SCOOP: The path of composer and teacher Osvaldo Golijov has been a circuitous one. Born in Argentina to a physician father and pianist mother, 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. Since 1991 Golijov has been a resident of Massachusetts. As Golijov’s reputation grew, so did the call for commissions and today the composer has established a reputation for both inventive and highly accessible scores.

He has always borrowed from other composers, leading in one case to an accusation of plagiarism. Even so, Golijov remains in great demand, both as a film composer and for his vocal and orchestral music. His four-minute ZZ’s Dream offers a sublime example of his appeal: the score, which suggests something of the language of Chopin with a dash

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Once upon a time, I, Zhuang Zhou, dreamt I was a butterfly, fluttering hither and thither. I was conscious only of my happiness as a butterfly, unaware that I was Zhou. Soon I awoke, and there I was, veritably myself again. Now I do not know whether I was then a man dreaming I was a butterfly, or whether I am now a butterfly, dreaming I am a man.

PIOTR ILYCH TCHAIKOVSKY (1840-1893): CONCERTO FOR VIOLIN AND ORCHESTRA IN D MAJOR, OP. 35

Instrumentation: solo violin, pairs of flutes, oboes, clarinets, bassoons and trumpets, four horns, timpani and strings Composed: Switzerland, 1878 Premiered: Vienna, 1881 Duration: 33 minutes THE SCOOP: The ease by which Tchaikovsky’s Violin Concerto initially took shape belied what would ultimately prove to be a frustrating and somewhat tortuous history. The original work was dispatched in only a month’s time, while the composer was taking a cure on the shores of Lake Geneva, Switzerland. Initially spirits were high. Tchaikovsky worked with his composition pupil, a violinist named Itself Kotek, who coached his teacher with respect to the technical intricacies of the violin writing, and who initially appeared fully committed to the project. At this early stage Tchaikovsky planned to dedicate the work to Kotek, with whom he was most certainly romantically involved.

However, Kotek evidently developed cold feet with respect to the score and Tchaikovsky, who took great pains to hide his homosexuality, ultimately decided that furthering their connection in print would only fuel gossip. Tchaikovsky’s concerto needed another violinist.

Enter Leopold Auer, the famed Hungarian violinist and teacher. Evidently Tchaikovsky not only hoped Auer would deliver the work’s premiere but went so far as to have the

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score published with a dedication to the violinist even before consulting him. Auer, however, was reluctant to commit to playing the premiere, which again had to be tabled. To his credit, Auer did set about making significant revisions to the violin part, all with the intent of making the writing better suited to the instrument; even so, his choice not to premiere the work hurt Tchaikovsky deeply. It was a decision Auer came to regret. Tchaikovsky did grant him absolution prior to his premature death (did he drink cholera-tainted water intentionally or by accident?). Ultimately, Tchaikovsky tapped the Russian virtuoso Adolph Brodsky, who finally premiered the work in 1881, three years after its completion.

Tchaikovsky adhered to the by-now traditional three movement plan. The concerto opens with a sonata-form Allegro, complete with a full-fledged orchestral introduction and incorporating a dazzling cadenza toward its close. This is followed by a lovingly crafted Andante, which Tchaikovsky entitled “Canzonetta”, or little song, and which was actually the composer’s second attempt at a slow movement, having found his original attempt less than adequate. Tchaikovsky launches into the third movement without pause, creating an air of tremendous thrust (the movement has been equated with an SST taking off from the tarmac). The finale is without doubt one of the great Russian juggernauts, its coda guaranteed to leave both the soloist and audience breathless.

The great music critic Eduard Hanslick, a staunch advocate of Brahms, was on hand at the premiere and found Tchaikovsky’s score "odorously Russian” and was of the opinion that "the violin was…beaten black and blue.” Of course, the effect of the concerto is about as far from Brahms’ own as is possible, but time has had the final say with respect to Tchaikovsky’s score. The work has been embraced by every major soloist and has become an audience favorite. A tour de force, the concerto contains some of the composer’s most memorable melodies and while making tremendous demands on the soloist, creates an undeniable air of electricity and triumph.

FROM THE COMPOSER WOLFGANG DANZMAYR (B. 1947): ELEGIE

Instrumentation: flute, oboe, clarinet, bassoon, two horns, trumpet and strings Composed: 1970 as a piano piece, orchestrated in 2018 Premiere: January 2020 Duration: approximately 9 minutes THE SCOOP: Wolfgang Danzmayrs “Elegie” was one of his first compositions, originally written in 1970. With this pianopiece Danzmayr wanted to prove his abilities of his studies in composition with Alfred Uhl at the Viennese Academy of Music. Variations in different styles of music were the result.

In 2018 he decided to create an orchestral version of this composition, which his son David liked to play on the piano, when he still was a child.

FRANZ JOSEPH HAYDN (1732-1809): SYMPHONY NO. 75 IN D MAJOR, HOB I:75

Instrumentation: flute, two oboes, bassoon, two trumpets, two horns, timpani and strings Composed: 1779-1781 Premiere: unknown Duration: 20 minutes Franz Joseph Haydn spent the bulk of his musical career in the service of the Hungarian Esterházy family and much of that at their family estate, a palace built in swampland that incorporated a former hunting lodge. Haydn worked here from 1766-1790, tirelessly composing works for every conceivable event or need: operas (he also rehearsed and conducted operas by other composers), symphonies, religious works and even chamber pieces for his musical employer Prince Nikolaus Esterházy to play. When Nikolaus died, his son Anton inherited the palace but with neither his father’s interest in music nor the desire to remain so isolated, he freed Haydn up to travel. Although the nowfamous Haydn was required to maintain his connection to the family, Haydn was finally in charge of his own destiny.

In 1791 the 58-year-old composer crossed the English Channel—seeing the ocean for the first time—and made his way to London.

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This first visit (he would return again several years later), which lasted about a year, proved fantastically successful.

The English embraced Haydn as one of their own. His music, already enormously popular prior to his arrival, experienced continued success as the public clamored to hear his latest symphonic offerings. Among those works presented was the Symphony No. 75, a work typically joyous and witty, yet which, according to Haydn’s diary experienced a rather macabre connection: “On 26 March at Mr Barthelemon’s concert, an English clergyman was present who fell into the most profound melancholy on hearing the Andante (or ‘Poco adagio’, as it was more usually marked) … because he had dreamt the previous night that this piece was a premonition of his death. He left the company at once and took to his bed. Today, 25 April, I heard from Herr Barthelemon that this Protestant clergyman had died.”

The D major Symphony opens with a Grave introduction, feigning a dark and gloomy atmosphere but this is immediately dispelled at the start of the spirited and often laughing Presto, precisely those qualities that drew the English to “Papa” Haydn’s scores. At the movement’s center we catch a glimpse of Haydn’s command of developmental procedures as he breaks down his theme’s small motives, a technique the older man certainly passed on to Beethoven.

Listen also to his treatment of counterpoint, the note-againstnote style reminiscent of the late J.S. Bach. The Adagio is cast as a set of variations, another of Haydn’s favorite forms, and based on a hymn-like theme, another of the master’s beloved specialties. The aristocratic dances of the minuet are followed by a spirited Vivace rondo, typical of Haydn’s symphonic finales. Keep an ear out for how Haydn toys with his material toward the movement’s close, including those Haydnesque unexpected silences, and you’ll understand why the Londoners hung on his every bar.

© Marc Moskovitz www.marcmoskovitz.com

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Hamilton’s

RENÉE

ELISE GOLDSBERRY at the

2020 SOIRÉE

BENEFIT & CONCERT FEBRUARY 1

TICKETS: promusicacolumbus.org | 614.464.0066

FEBRUARY

Featured Musicians

KATHERINE MCLIN, VIOLIN The Donald G. Dunn Chair 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).

KAT H E R I N E M C L I N

M ARC M OS KOV I T Z

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.

M ARY H ARRI S

J E NN I F E R R O S S

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.

JENNIFER ROSS, VIOLIN The Joan M. Herbers Chair Violinist Jennifer Ross has enjoyed a full and varied career as an orchestral player, chamber musician, soloist, and teacher.

She began her career at the age of 19 as Associate Concertmaster of the Honolulu Symphony, and after graduating from the Curtis Institute of Music, won a position in the Cincinnati Symphony Orchestra where she spent 5 seasons. Ms. Ross went on to spend nearly 20 years as the Principal Second Violin of the Pittsburgh Symphony Orchestra, where she performed under Music Directors Mariss Jansons and Manfred Honeck, touring world-wide, recording extensively, winning 2 Grammy Awards and performing as soloist. She has been a guest artist with the L.A. Chamber Orchestra, Seattle Symphony, and L’Orchestra Symphonique de Montreal. She also served as Concertmaster of the Vermont Symphony and is currently the Principal Second Violin of ProMusica Chamber Orchestra.

Ms. Ross maintains an active chamber music career and has collaborated with many of the world’s great artists including Pinchas Zuckerman, Johannes Moser, Denis Kozhukhin, Lynn Harrell and Jaime Laredo.

She has performed with numerous chamber ensembles and music festivals including the Detroit Chamber Players, the Colorado Chamber Players, Camera Lucida, Strings in the Mountains, and more than 35 years at the Grand Teton Music Festival. She is also a founding member of Jackson Hole Chamber Music.

Much in demand as a teacher, Ms. Ross coaches regularly at the New World Symphony in Miami, the National Youth Orchestra of the USA, and the National Orchestral Institute, where she serves as Artist in Residence for Orchestral Studies.

She was a faculty member at Oberlin College Conservatory of Music and sat on the jury for the Sphinx Competition for Black and Latino String Players. Ms. Ross continues to give violin master classes, audition clinics, lectures and Yoga for Musicians Workshops at major music schools, universities and festivals across the country.

Among her pursuits outside the music realm, Ms. Ross is an avid hiker, cyclist, cross-country skier, and runner, completing

13 marathons including Boston. She is trained as a Wilderness First Responder, a Certified Yoga Instructor, and a member of the Community Emergency Response Team of Teton County. Recently retired from the Pittsburgh Symphony, Ms. Ross makes Jackson, Wyoming her permanent home.

MARY HARRIS, VIOLA The Margaret & Jerome Cunningham Chair Mary E. M. Harris is Professor of Viola at Miami University in Oxford, Ohio, and member of the Oxford String Quartet. An avid performer, she is also principal violist of ProMusica Chamber Orchestra in Columbus, Ohio and violist of the Nexus String Quartet.

In addition, she is a founding member of Cosmos, a flute, viola and harp ensemble dedicated to commissioning and performing new works for this combination. Cosmos’ recent recording, American Premieres on MSR Classics, features works written for and premiered by the trio to critical acclaim.

A former member of the Dakota String Quartet and I Musici de Montreal, Ms. Harris has served as principal violist of the New American Chamber Orchestra, touring Europe extensively and performing at the Korsholm, Casals, and other international festivals. She also served as principal of the Echternach Festival Orchestra in Luxembourg and has performed with the Garth Newel Festival in Virginia.

For many years, Ms. Harris has spent her summers performing at the New Hampshire Music Festival and the Peter Britt Festival in Jacksonville, Oregon. She also performs at the Serafin Summer Music Festival in Wilmington, Delaware.

She is a graduate of Indiana University (Bloomington), where she studied with Mimi Zweig and Georges Janzer. She holds M.F.A. and M.M. degrees from the Institute of Chamber Music at the University of Wisconsin in Milwaukee, where she studied and performed with members of the Fine Arts Quartet and performed on WFMTRadio in Chicago.

Ms. Harris is an enthusiastic dog-lover, hiker and backpacker!

MARC MOSKOVITZ, CELLO The Barbara Trueman Chair 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 2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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.

When in Columbus, Marc performs on a cello owned by Catherine Adams. The instrument was owned and played by her great-grandfather, a professional cellistturned-homesteader, who immigrated to America after serving in the court of the King of Hanover.

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An Evening of String Quartets Katherine McLin, violin Jennifer Ross, violin Mary Harris, viola Marc Moskovitz, cello Worthington United Methodist Church // Saturday, February 29 // 5:30 PM J.S. BACH Art of the Fugue

Contrapunctus I BEETHOVEN String Quartet in B-flat Major, Op. 18, No. 6 Allegro con brio

Adagio, ma non troppo

Scherzo: Allegro

La Malinconia: Adagio-Allegretto quasi Allegro

Program

SHAW

Blueprint

Intermission

Intermission lasts 15 minutes

RAVEL String Quartet in F Major Allegro moderato – très doux Assez vif – très rythmé Très lent Vif et agité

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

To better appreciate the diverse nature of the works on this afternoon’s program, some perspective on the development of the string quartet as a musical genre might be in order.

We don’t know exactly when the first string quartet was composed, but the genre probably developed out of a casual collection of string instruments such as those used to serenade individuals or parties during various 17th century settings. For such events, whether an out-of-doors serenade or a drawing room performance for the nobility, it was less important which particular instruments were on hand, so long as there were players enough to cover all the parts. It was in the hands of Joseph Haydn that the concept of the string quartet, with its current representation of two violins, viola and cello, was truly developed. Haydn, along with Mozart, composers who exchanged ideas and even played quartets together when the opportunity presented itself, understood how these four instruments (two soprano, one middle voice, and a bass voice to ground the harmony) provided the perfect means to manage the operation: four separate but equal players engaging in a musical dialogue (even if the violins, at least in the first years of the genre’s development, did the majority of the talking!). By the time Beethoven began contributing to the genre, which he did with his set of Op. 18 quartets, all the instruments had begun to play a more equitable role. From this point on, the string quartet would provide every composer that followed the greatest of musical challenges (four and only four): because of its limitations and expressive potential, it was with the string quartet that the full measure of a composer’s ability was truly put to the test and often where the most profound results were to be found.

JOHANN SEBASTIAN BACH (1685-1750): CONTRAPUNCTUS I FROM ART OF THE FUGUE As it so happens, the first work on today’s program was not composed for string quartet at all. Indeed, the ensemble had not even been “created” when Bach, nearing the end of his life, set about demonstrating all the possibilities for fugal composition. While Bach composed for nearly every musical genre save opera, it was in the world of counterpoint (note against note) where his true genius thrived—not only has Bach’s contrapuntal know how never been surpassed but his achievements seem beyond what the human mind is even capable. In the final decade of his life, Bach set about “cataloguing” the various ways fugues could be written (that is, one voice begins with a subject which is then imitated in other voices while the previous voices then carry on with their own material). Bach never finished the project and in fact his son, CPE Bach, said that he died at the point where his final fugue broke off.

Whether or not matters were as CPE would lead us to believe, J.S.’s compilation of fourteen fugues and four canons, remains the gold standard of fugal composition.

Each study is known as a “contrapunctus,” and today you will hear the first of the fourteen. Because the instrumentation for the work was never specified, the Art of the Fugue has been taken up by any number of ensembles, including string quartet. Try to follow the contrapuntal subject as it is introduced by the violin and then taken up by the others. Whether or not intended for such an ensemble, it is a true musical discussion and as such wholly in the spirit of the group.

LUDWIG VAN BEETHOVEN (1770-1827): STRING QUARTET IN B-FLAT MAJOR, OP. 18 NO. 6 It was with his set of six quartets, Op. 18, that Beethoven first admitted to truly understanding how to write for quartet of strings. These were composed between 17981800 to fulfill a commission by one of his most active patrons, Prince Maximillian Lobkowitz, and their turnof-the-century gestation should suggest that these were no longer strictly “classical” compositions. Their

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history tells us all we need to know about Beethoven, his compositional method and what the string quartet meant to him. After sending an early version of the score to a friend, he then thought better of it and requested that the manuscript be shown to no one. Beethoven then set about revising, and ultimately altered, in one way or another, nearly every bar of the original, until he got it right. Beethoven had learned a great deal about quartet writing from Haydn and Mozart but he had even more to say about textures, dynamics, thematic development and formal textures. When he finally sent the finished product to his publisher, in 1801, Beethoven had firmly established his place alongside his Viennese predecessors as master of the genre.

The Quartet in B-flat Major, Op. 18 No. 6, stands out on account of the profound nature of the finale, (with its “Malinconia” nickname). The first three movements of the work are rather traditional by way of their architecture and pacing (fast-slow-minuet/scherzo-fast). The opening Allegro con brio is pretty standard sonata-form fare, with its two contrasting themes and unfolding of ideas. Arguably the most important element here is Beethoven’s developmental procedure—in other words, how he breaks down and builds upon his thematic material, concepts no doubt gleaned from Haydn but which Beethoven took to another level.

Indeed, Kerman, the great Beethoven scholar, writes about this movement’s development beginning “to crackle in real Beethovenian fashion.” The Adagio again looks backward rather than forward, the variants of its theme crafted as a Rococo ornamentation. It is with the Scherzo that we really see Beethoven being Beethoven, upping the ante of the traditional minuet with increased speed (scherzos, rather than minuets, would now become a typical Beethoven trademark in both his string quartets and symphonies), the misplaced rhythms and cross rhythms keeping the sense of the strong beat off balance. Scherzo means “joke” in Italian and Beethoven doesn’t get much more humorous than this.

But the fourth movement is the quartet’s real centerpiece, an emotional juggernaut that from the very first page heralds an unusual Beethovenian instruction: "Questo pezzo si deve trattare colla più gran delicatezza" ("This piece is to be played with the greatest delicacy”). While any of the prior

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movements might perhaps been conceived of by an earlier composer, in no way could this finale have flowed from the mind and pen of anyone but Beethoven, a man laying bare his own emotional agenda: whether or not we regard the opening Adagio as more mysterious than “melancholy”, we certainly gain insight into the true Beethoven, his moods of depression and combative temper. Note both his harmonies, which are already pushing well into the Romantic age, and his obsession with tightly-knit motives, one of which will be quoted by our next composer). How astounding, then, that Beethoven counters his emotional introduction with a German country dance that skips along as if without a care in the world! But Beethoven is not finished with the opening strains of the Adagio and they return twice more before the quicksilver coda drives this raucous movement to its brilliant conclusion.

CAROLINE SHAW (B. 1982): BLUEPRINT Though the genesis of Caroline Shaw’s Blueprint sprang from Beethoven’s Op. 18 No. 6, one need not know the earlier work to appreciate the sophistication of Shaw’s approach. Blueprint, a single-movement composition from 2016, reveals its composer’s rapid-fire style, building on short often unrelated ideas. Here they are gently woven together and then slam into one another for maximum effect. As such, quoting from Beethoven seems a perfect fit, given the earlier composer’s penchant for exploiting short, terse motives for their dramatic potential.

Shaw, the youngest musical recipient of the Pulitzer Prize (2013), is in great demand as a composer, with a growing list of commissions from names like Dawn Upshaw, Renée Fleming, the Orchestra of St. Luke’s, the Dover Quartet, Brooklyn Rider and the Baltimore Symphony, to name but a few. As a violinist and violist, Shaw got to know Beethoven’s Op. 18 quartets intimately, and like the masters of the medium, writes for the foursome as a dialogue. In Blueprint, we are immediately pulled into her world of kaleidoscopic ideas, expectation and fluidity. This sevenminute showpiece explores a wealth of colors and textures, with quickly shifting harmonies that will move you through

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centuries before you can say “Questo pezzo si deve trattare colla più gran delicatezza.” Having just heard the Beethoven, you will note the Malinconia quotations. In Shaw’s hand, Beethoven’s music seems to gain new meaning as she draws directly from the string quartet’s rich tradition, proving that after 250 years, the medium is far from exhausted.

MAURICE RAVEL (1875-1937): STRING QUARTET IN F MAJOR Maurice Ravel was 28 when he wrote his one and only string quartet, roughly the same age as Beethoven when the latter wrote his set of six Op. 18’s. But while Beethoven was an established composer by the time he set to work on his quartets, Ravel was still a student, at least in the sense that he was auditing composition classes at the Paris Conservatoire with Gabriel Fauré (to whom his F Major Quartet is dedicated). While Ravel may have attempted to avoid the trappings of Wagnerian harmonies that had dominated much of Western European music for the last half century or so, he was not immune to outside influences. Certainly, the string quartet of Debussy from a decade earlier, which Ravel knew intimately, was in his ear, while we also note that his quartet’s architectural plan draws on a traditional four-movement scheme. What is more, Ravel’s opening Allegro is built of a clear-cut sonata form, the same structure Mozart would have used for one of his opening movements (Ravel was indeed very fond of Mozart’s music). To understand this, listen for the two themes Ravel presents, the “motto” theme with which the work opens and the ethereal secondary idea presented in octaves by the violin and viola—two clear-cut melodies whose subsequent development and recapitulation mark a standard classical approach.

off-balance meter (5/8) of the closing Vif et agité, or the experimental harmonies found throughout the work, all point very much toward the future, not the past, and herald a major new composer having arrived on the scene.

Rarely are such revolutionary works immediately embraced, and this work’s 1904 premiere was no exception.

The critics were divided, some suggesting that Ravel return to his writing desk for revisions. Even his teacher Fauré was on the fence about his student’s latest offering, and inevitably the quartet was compared to Debussy’s earlier work. Yet to his credit, the elder French musical statesman confided to his younger colleague, “In the name of the gods of music, and in mine, do not touch a single note of what you have written in your quartet.” Fortunately Ravel heeded Debussy’s advice and to good effect—within a decade the work had firmly secured its place in the repertoire and is now performed with regularity by professional ensembles the world over. © Marc Moskovitz www.marcmoskovitz.com

These traditional principles aside, Ravel’s composition signals a revolution was taking place, albeit subtly. Not only does his opening theme give way to many of the other melodies found throughout the score but the colors and effects Ravel unveils, whether the pizzicato textures of the Assez vif (which juxtaposes two ideas and two meters simultaneously), the abundance of ideas comprising the Très Lent, which unfolds as a wholly unique structure, the explosive energy and

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MARCH

Featured Musicians

VICTORIA MOREIRA, VIOLIN The Dyann & E. Joel Wesp Chair Violinist Victoria Moreira, founding member of the Kaia String Quartet (WFMT 2017 Ensemble-in-Residence) has performed extensively throughout the USA, Canada, Mexico, Asia and South America. First Prizewinner of Viva El Tango Agustin Carlevaro Competition and Music Director of the American Tango Institute, Moreira’s diverse musical background keeps her involved internationally in the Tango scene.

Her latest recording projects include Quartango, an album of tango for string quartet; Latinoamerica, a CD of all LatinAmerican works and a co-production with Mark Sonksen Vicisitudes with Tangata Ensemble. Previous projects include Sonksen’s Postales del Sur and Argentina Tango on Stage, with Carlos Marzan and his ensemble in Buenos Aires, Argentina.

Moreira has been involved as a solo, chamber and orchestral musician in Chicago as concertmistress of Oistrakh Symphony Orchestra and Assistant Concertmaster of Northbrook Symphony. She has also performed in the Chicago Latino Music Festival since 2007 and at the Chicago Tango Festival since 2006. She performs as a soloist with West Suburban Symphony in Illinois yearly.

ILYA S H T E R E N B E R G

V I C TORI A M OREI RA

Moreira is a faculty member at DePaul University Community Music Division and has a private studio in the Chicago area. She is a passionate Suzuki teacher and devoted educator through her string quartet, including KAIA KIDS, an initiative through WFMT and PBS Kids. Other projects include Tango workshops for violinists at Old Town School of Folk Music, outreach concerts through Ravinia, Evanston in School Music Association, and Promotora de las Bellas Artes in Mexico.

J O E L B EC K T E L L

RYAN B EH AN

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In addition to her membership with the Kaia String Quartet, she has also collaborated with Rush Hour Concerts, Ondas Ensemble, Intersection from Nashville, the MAVerik Ensemble and the national Chamber Ensemble of Uruguay. She was also winner of the 2010 DePaul Concerto Competition.

Moreira studied at Escuela Universitaria de Musica, Montevideo Uruguay under Jorge Risi, received her Bachelor of Music at Roosevelt University under Vadim Gluzman

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and her Master of Music and Artist Certificate at DePaul University under Ilya Kaler. She also did a residency at Northern Illinois University with the KAIA String Quartet under the tutelage of the Avalon String Quartet.

a recitalist and chamber music artist with Cactus Pear Music Festival, and the North Shore Chamber Music Festival.

ILYA SHTERENBERG, CLARINET The Beth Grimes-Flood & Tom Flood Chair Principal clarinetist of the San Antonio Symphony and Principal clarinetist of the ProMusica Chamber Orchestra, Ilya Shterenberg balances a busy career as an orchestral musician, chamber music performer, and a soloist. Hailed by the press as “He possesses that miraculous gift of an innate musical sense…music seemed to flow toward the infinite, as if divinely ordained”, he has been featured soloist with both San Antonio and ProMusica orchestras, performing works by Mozart, Weber, Rossini, Debussy, and Strauss.

JOEL BECKTELL, CELLO The Donna K. Laidlaw Chair Cellist Joel Becktell has performed, taught, and lectured throughout North and Central America and Europe. He has been a member of the Buffalo Philharmonic Orchestra, the Nichols Quartet, the Harrington String Quartet, and the Moveable Feast chamber ensemble.

He has been featured as Principal clarinetist with Cincinnati and Seattle Symphonies, and has collaborated with such conductors as Roger Norrington, Seiji Ozawa, Dennis Russell Davies, Herbert Blomstedt, Daniel Barenboim, George Solti, Pierre Boulez and others.

Away from the orchestras, Ilya is very active as chamber musician, festival performer, and educator. He is a member of Olmos Ensemble, a chamber group made up of principal woodwind players from the San Antonio Symphony. His summer appearances have included the Colorado Music Festival and Britt Festival, as well as the Piccolo Spoleto Festival – USA. As an educator, he has been a faculty member of the College of Charleston, the University of Texas San Antonio, and UT Austin.

A native of Ukraine, Ilya began his music education at the Kosenko Music College, in Zhitomir, city of his birth. After his immigration to the United States in 1989, he received an Artist Certificate diploma from the Meadows School of the Arts, Southern Methodist University, after which he did further study at DePaul University in Chicago. His principal teachers have included Larry Combs, Stephen Girko, and Charles Neidich.

Mr. Shterenberg’s performances have been heard on National Public Radio stations throughout the country as well as Chicago’s WFMT nationwide classical music network. He performs frequently as

Ilya is a Buffet Group USA performing artist.

He has served as Principal Cellist of the Austin Symphony Orchestra and the Santa Fe Pro Musica and is Assistant Principal cellist of the Santa Fe Symphony. Joel appears frequently on Baroque and modern cello and violoncello piccolo as soloist and with ensembles throughout North America. He is a founding member of Movable Sol and the baroque ensemble BWV, both of which perform a popular, intimate concert series in New Mexico. Joel has appeared as soloist with the Buffalo Philharmonic Orchestra and the Santa Fe Symphony. He has recorded for Marquis Classics, Revel Records, Parma, and Blue Griffin Records labels. His latest CD, Bach’s Solo Cello Suites, Volume I, featuring two complete recordings of the first three Bach Suites (one on modern cello, one on a period baroque cello) was released in 2014.

Joel is a graduate of the Cleveland Institute of Music, where he received his Bachelor and Master of Music degrees with honors.

His teachers include Anne Cole, Alan Harris, and Stephen Geber. A dedicated teacher and coach, Joel teaches privately and at various festivals and master classes. He has also written on pedagogical and luthiery topics for Strings Magazine.

RYAN BEHAN, PIANO Ryan Behan has won acclaim from audiences in the United States, Europe and China as an exceptionally versatile pianist. Recent highlights: performance at the Salzburg Festival with soprano Jolana Slavíková, concerto soloist with the Toledo Symphony Orchestra, Franz Liszt’s complete Années de Pèlerinage, and a recital appearance with soprano Sumi Jo at the Mozarteum. A winner in the Fischoff National Chamber Music 2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

Competition, he has also presented bicentennial celebrations devoted to the solo, chamber music and vocal literature of Franz Liszt, Robert Schumann and Frederic Chopin. Dedicated to the advancement of new music, he has performed the works of many living composers including Luxembourger Alexander Müllenbach, as well as those by Joseph Schwantner at the Contemporary Music Festival and Composers, Inc. in Columbus.

Since 2012 he has served on the collaborative faculty of the Mozarteum International Summer Academy in Salzburg, Austria where he has taught collaborative piano students participating in the Lied class of Wolfgang Holzmair, and coached instrumentalists and singers alongside many of the great artists of our time, including opera singers Grace Bumbry, Wolfgang Brendel, and Hedwig Fassbender; violinists Zakhar Bron and Michael Frischenschlager; cellists Umberto Clerici and the late Heinrich Schiff.

With a strong profile throughout Ohio and the Midwest, Behan serves as principal keyboardist for ProMusica Chamber Orchestra and has performed in this organization’s Artist Circle recitals with Vadim Gluzman and Paul Neubauer; he has also concertized with members of the Chicago Symphony, Columbus Symphony, Dayton Philharmonic and Indianapolis Symphony; been guest artist at Indiana University–Bloomington and Cincinnati College-Conservatory of Music; given solo concerts and master classes at the University of Toledo, Wittenberg University and Kenyon College; and served as adjudicator for the Ohio MTNA Young Artist State Competition and the Columbus Youth Symphony Concerto Competition.

Behan holds degrees from Bowling Green State University, the Universität Mozarteum Salzburg and a Doctor of Musical Arts degree from The Ohio State University; he was a student of Jerome Rose, Imre Rohmann, Vedrana Subotic and Caroline Hong; he further studied with Leslie Howard at the International Keyboard Institute in NYC and with James Tocco in Cincinnati. He currently teaches at OSU and Cedarville University, and is a founding member and treasurer of The American Liszt Society Ohio Chapter.

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Tango in Paris Victoria Moreira, violin Ilya Shterenberg, clarinet Joel Becktell, cello Ryan Behan, piano Worthington United Methodist Church // Saturday, March 7 // 5:30 PM MILHAUD Suite for Violin, Clarinet and Piano

Ouverture Divertissement Jeu Introduction et Final RAVEL Sonata for Violin and Cello

Allegro Très vif Lent Vif, avec entrain

Program

ROTA Trio for Clarinet, Cello and Piano

Allegro Andante Allegrissimo

Intermission

Intermission lasts 15 minutes PIAZZOLLA/arr. BROGATO

he Four Seasons of Buenos Aires, for Violin, T Cello and Piano Primavera Porteño (Spring) Verano Porteño (Summer) Otono Porteño (Autumn) Invierno Porteño (Winter) DEL AGUILA

Tango Trio, Op. 71 C, for Violin, Clarinet and Piano

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

DARIUS MILHAUD (1892-1974): SUITE POUR VIOLIN, CLARINET ET PIANO The musical talent of Frenchman Darius Milhaud served the composer like a sponge, allowing him to absorb and incorporate a diverse palette of musical languages.

Beyond the native influences passed on to him at the Paris Conservatory where he trained, Milhaud spent time in Brazil, where that country’s popular music left an indelible impression on his style, and in Harlem, where he first encountered jazz, another non-classical idiom that left its mark. All of these characteristics thread their way through his many, many scores, the sheer volume of which also attests to his musical appetite (among the most prolific composers of the twentieth century, Milhaud’s compositions run the gamut, from dozens and dozens of orchestral works, operas, ballets, chamber music for an extremely wide variety of instrumentation, organ and piano music, etc. etc.). Milhaud’s composition students in America, who included pop artist Burt Bacharach and jazz pioneer Dave Brubeck, further testify to the eclectic musical nature of this French master.

The four-movement Suite for Violin, Clarinet and Piano is highly indicative of the various and varied qualities that set Milhaud’s music apart (the composer was among a group of French modernists known collectively as Les Six who sought a new and anti-Wagnerian musical language): a work based on a play, inspired by the Baroque suite and infused with stylistic variety. This twelve-minute work opens, fittingly, with a sparkling Overture, as if the curtain has just opened on a stage work. Here the Brazilian influences are the most pronounced, particularly evident in the jaunty, syncopated rhythms and Milhaud’s melodic flair. For bars at a time we might imagine ourselves at a Rio nightclub in the opening decades of the twentieth century. The Divertissement, as the title suggests, is of a lighter, almost flippant character, yet one should not overlook Milhaud’s ability to weave together a variety of ideas and textures with masterful ease. Jeu, or Games, is just that—a joke that dispenses with the keyboard entirely and provides the violinist and clarinetist ample

opportunity to demonstrate their virtuosic and melodic wares. Milhaud’s quirky musical humor is plainly evident at this movement’s outer edges. The finale opens with unfamiliar seriousness and for a few minutes displays the progressive side of Milhaud’s nature. This cannot be sustained for long, however, and the music soon gives way to cheeky sweetness, evidence that Milhaud would not have wanted his little suite, however well crafted, to be taken too seriously.

MAURICE RAVEL (1875-1937): SONATA FOR VIOLIN AND CELLO Though born a generation before Milhaud, there is ample musical evidence that the path Maurice Ravel cut was successively trod by his successor, particularly as regards the modernist and jazz influences. Like Milhaud, Ravel also sought to consciously avoid the looming shadow that Richard Wagner cast across the European continent toward the close of the 19th century. For Ravel, this meant introducing new harmonies and textures and even incorporating non-classical idioms, such as American jazz and even non-Western styles (Javanese gamelan music, for example, was introduced to Parisians at the World’s Fair).

Unlike Milhaud, however, Ravel worked at a painstakingly slow pace and when all was said and done, his portfolio was a fraction the size of what Milhaud left behind. But Ravel was in no hurry; he worked and reworked until his scores were perfect specimens. By the time all was said and done, Ravel had molded himself into one of the greatest French composers of all time.

The Sonata for Violin and Cello, known affectionately amongst string players as the “Ravel Duo”, occupied the composer between the years 1920-22. In Ravel’s own words, "[t]his business for two instruments may not seem like much, but there's close to a year and a half of work in it.” The gestation of the work speaks greatly to the thought that went into the composition, music that despite involving “only” two instruments was both inventive and truly inspired. Indeed, its genesis lay in the spirit of Claude Debussy, whose death in 1918 left an undeniable void on the country’s musical landscape. This Ravel fully understood, for although the two didn’t always see eye to eye, Ravel greatly admired the genius of his great French contemporary and with his Duo sought to acknowledge Debussy’s passing by dedicating the score to the latter’s memory.

The Sonata marked a critical junction in Ravel’s compositional approach, one that he admitted firsthand:

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"I think this sonata marks a turning-point in my career. The music is stripped down to the bone. The allure of harmony is rejected and increasingly there is a return to emphasis on the melody.” Of course, with “only” two instruments, Ravel had a challenging conundrum: how to craft a work for two, the whole of which is greater than the sum of its parts? Ravel came to regard the results as "...a truly symphonic work for two instruments, achieve[ing] new and interesting effects.

Many of these will be clearly audible, such as the various harmonics (eerie, ultra-high pitches) dispatched at times by both instruments. In other cases, Ravel makes unusual and often less-than-natural demands on the techniques of both players, resulting in new and inventive chords, harmonies and figuration.

The opening Allegro relies on two ideas: the rocking accompaniment heard at the outset and the melody that floats above it. Throughout the movement both ideas unfold, are woven together and juxtaposed brilliantly, while allowing neither player even a hair’s breadth of time to pause. The driving second movement, marked Très vif (very fast), displays a variety of effects, including pizzicato (plucking), sul ponticello (bowing near the bridge to create a steely sound), slides and chords of a violent nature. This is worlds away from the hyper-romanticism common to the century’s close and far more akin to the progressive scores of the Hungarian Bela Bartok, with whose music Ravel had become familiar by the time of this work's composition. The Lent (slow) provides much needed relief, although Ravel’s tonalities are indeed challenging. Listen for the canon—the cello leads things off, then the violin imitates an octave higher with its entrance nine bars later (Ravel instructs the players to play this melody on a single string). The fourth movement, marked Vif, avec entrain (lively, with enthusiasm), is characterized by a springing opening theme and accompanied by unapologetic mad dashes back and forth between arco (with the bow) and pizzicato, rapid changes of texture that led Ravel to describe his Sonata as “orchestral.” He also described this finale as an imitation of a Mozart rondo, though we might easier grasp the folksy elements—jaunty ideas juxtaposed by the push and pull of a tight, dragging theme. When the cello ushers in the rondo theme for the last time, Ravel's music careens forward to a joyful C major ending, bringing to a close a work whose musical breadth seems to belie its mere twenty minutes’ running time.

NINO ROTA (1911-1979): TRIO FOR CLARINET, CELLO AND PIANO Nearly all of you are familiar with the music of Nino Rota, even if you have never heard the name. Recall the music from The Godfather? Rota composed that, along with more than

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three dozen other film scores, including the Zeffirelli classic, La Strada. But Rota was much more than a film composer.

His output includes ten operas, five ballets, orchestral, choral and chamber music, including the work heard today, his Trio for Clarinet, Cello and Piano from 1973.

Rota’s trio is a sophisticated work of chamber music, not only written with a deep understanding of each instrument’s potential but crafted as a true dialogue, as evident in the active exchange of ideas of the opening Allegro. If this sonata-form movement breathes the spirit of two earlier masters, Prokofiev and Brahms, it nevertheless illustrates a master composer at the top of his game. Rota’s melodic flair is equally well suited to the Andante which opens with a yearning theme in the clarinet and is quickly absorbed by the cello. Again, the spirit of Brahms, or at least that of mid-19th century Vienna, is in the air of this lush and inviting movement, suggesting that Rota regarded that time and place as the chamber music ideal. Rota’s invented tempo indication for his finale, Allegrissimo, suggests both a very fast clip and a humorous character, evident in the frivolousness and dash of the festive opening theme. What follows is as virtuosic as a three-ring circus, deftly moving into unexpected harmonic directions and captivating us with its joie de vivre. For all its quirkiness, we should not minimize the talented hand of its composer, whose staggering ability allowed him to dispatch chamber music of the highest level of sophistication, even if his bread was buttered by the more lucrative royalties of his film scores.

ASTOR PIAZZOLLA (1921-1992): THE FOUR SEASONS OF BUENOS AIRES, FOR VIOLIN, CELLO AND PIANO (ARR. BY JOSÉ BRAGATO) ProMusica audiences are no strangers to the music of Argentinian tango master Astor Piazzolla, a consequence of our orchestra having performed several of his scores, as well as his violin concerto, The Four Seasons. In this afternoon’s version of this latter work, we hear a dazzling transcription by the Argentinian-born cellist and composer José Bragato. Of course, Piazzolla took his musical cue from Vivaldi’s original, yet this is much more than mere pastiche.

Piazzolla, who trained with the famed French pedagogue Nadia Boulanger, imbues the four seasons of the year with truly novel, if Argentinian, inspiration.

Piazzolla was the consummate musician, a performer (he played the bandoneon, a concertina similar in nature to the accordion) who wrote for himself and the various ensembles with which he worked. Having trained with various tango orchestras, Piazzolla eventually formed his own ensembles, with whom he revolutionized this beloved

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Argentinian dance form. By infusing tango with new ideas, abandoning the traditional singer and incorporating jazzinspired improvisation and an atmosphere of true chamber music, nueve tango was born.

The first movement, Primavera, is characterized by the driving, syncopated rhythms at its borders and a suave, lyrical central section. The shortest movement of the four, this opener provides an ideal introduction into the world of nuevo tango but each of the seasons is vintage Piazzolla, featuring suave melodies, energetic rhythms and Argentinean flair. Just as impressive as Piazzolla’s score is the new life breathed into the work by Bragato, the work’s arranger, in whose hands Piazzolla’s original gains new life and proves a natural fit for an ensemble of three.

MIGUEL DEL AGUILA (B. 1957): TANGO TRIO, OP. 71 C, FOR VIOLIN, CLARINET AND PIANO Del Aguila’s Tango Trio provides the perfect dessert to today’s four-course musical meal. Taking a page from Piazzolla’s playbook, the Uruguayan-born American composer shows in this tight four-minute work why he has earned international accolades and Grammy nominations.

The single movement Tango Trio, which moves deftly through a variety of characters, drips with the sultry essence of tango, a perfect vehicle allowing each member of the ensemble a chance to take a spin in the limelight. © 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) and more recently, co-author of Beethoven’s Cello: Five Revolutionary Sonatas and Their World, both published by Boydell & Brewer (UK). www.marcmoskovitz.com 2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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April Guest Artist

Joshua Roman Joshua Roman has earned an international reputation for his wide-ranging repertoire, a commitment to communicating the essence of music in visionary ways, artistic leadership and versatility. As well as being a celebrated performer, he is recognized as an accomplished composer and curator, and was named a TED Senior Fellow in 2015.

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Recent highlights include making his Detroit Symphony Orchestra debut, performing his own Cello Concerto, Awakening, with the Princeton Symphony in collaboration with conductor Teddy Abrams, and performances of Tornado with the JACK Quartet with San Francisco Performances, Town Hall Seattle, Interlochen and numerous presenters throughout the country. He also gave his debut at the Spoleto Festival in Charleston, comprised of not only performances with high caliber musicians from the St. Lawrence String Quartet and other corners of the chamber music world, but a performance of his solo piece Riding Light. In Europe, Roman recently performed one of his favorite 20th Century Cello Concertos, that of Polish composer Witold Lutoslawski, with the Szczecin Philharmonic of Poland.

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“A cellist of extraordinary technical and musical gifts.”

—SAN FRANCISCO CHRONICLE

In 2017 Joshua Roman premiered his composition Tornado, a new work commissioned by the Music Academy of the West and Town Hall Seattle. The lauded premiere took place with the JACK Quartet at the Music Academy of the West in June of 2017. Joshua Roman also gave the “world-class world premiere” (Seattle Times) of Mason Bates’ Cello Concerto with the Seattle Symphony in 2014. The concerto is dedicated to the cellist who has also performed it with the Portland, Berkeley, Spokane, and Memphis Symphonies. At TED2017 in Vancouver, Roman opened the conference during its first-ever live simulcast to movie theaters around the world with a collaborative music and dance piece created and danced by Huang Yi, with the industrial robot KUKA as dance partner, followed by an original composition to kickstart the first session of speakers. In November of 2016, Roman’s musical response to the tension around the U.S. Presidential election - “Let’s Take A Breath” - brought almost one million live viewers to TED’s Facebook page to hear his performance the complete Six Suites for Solo Cello by J.S. Bach.

Photo: Hayley Young

Before embarking on a solo career, Roman spent two seasons as principal cellist of the Seattle Symphony, a position he won in 2006 at the age of 22. Since that time he has appeared as a soloist with the San Francisco Symphony, Seattle Symphony, Los Angeles Philharmonic, BBC Scottish Symphony, Moscow State Symphony and Mariinsky Orchestra, among many others. An active chamber musician, Roman has collaborated with ChoLiang Lin, Assad Brothers, Christian Zacharias, Yo-Yo Ma, the JACK Quartet, the Enso String Quartet and Talea Ensemble. His YouTube series (youtube.com/joshuaromancello), “Everyday Bach,” features Roman performing Bach’s cello suites from beautiful settings around the world. He was the only guest artist invited to play an unaccompanied solo during the YouTube Symphony Orchestra’s 2009 debut concert at Carnegie Hall, and has given a solo performance on the TED2015 main stage. Roman is grateful for the loan of an 1899 cello by Giulio Degani of Venice.

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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 Hillsdale Fund Chair Jennifer Ross, principal second The Joan M. Herbers Chair **Amy Cave The Randy & Marilyn Miller Chair Robert Gillespie The Wilson Family 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

BASSES John Pellegrino, principal The John F. Brownley Chair Patrick Bilanchone The Kathryn D. Sullivan Chair

VIOLAS Mary Harris, principal The Margaret & Jerome Cunningham Chair **Brett Allen The Jane Werum Chair Stephen Goist The Regie & David Powell Chair Michael Isaac Strauss The Anne Powell Riley Chair

BASSOONS Ellen Connors, principal The Loann W. Crane Chair Rachael Young The Carolyn Merry & Bob Redfield Chair

VIOLONCELLOS Marc Moskovitz, principal The Barbara Trueman Chair **Joel Becktell The Donna K. Laidlaw Chair Nathaniel Chaitkin The William K. Laidlaw Chair Cora Kuyvenhoven T he Bob & Mary Frances Restrepo Chair

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FLUTES Vacant, principal The Dana Navin Schultz Chair Vacant 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 Robert T. Bennett Chair

HORNS Stephanie Blaha, principal The Todd S. Swatsler Chair Vacant The Denise & Barry Blank Chair TRUMPETS Vacant, principal The Susan L. Quintenz Chair Timothy Leasure The William & Wendy Faust Chair TIMPANI & PERCUSSION RenĂŠe Keller, principal The Michael & Jody Croley Jones Chair Rajesh Prasad The Bob Redfield & Mary Yerina Chair

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HARP Jeanne Norton, principal The Sustaining Board Chair HARPSICHORD Aya Hamada, principal The ProMusica Board Chair in memory of Ida Copenhaver ASSISTING MUSICIANS Nadine Hur flute Kyra Kester flute Stephen Laifer horn Cory Palmer 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.

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.

Mozart & the Masters Joshua Roman, cello & composer Vadim Gluzman, violin & creative partner Worthington United Methodist Church // Saturday, April 4 // 5:30 PM MOZART Symphony No. 1 in E-flat Major, K. 16

I . Molto allegro II. Andante III. Presto 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

Double Concerto for Violin, Cello, and Orchestra

Vadim Gluzman, violin

Joshua Roman, cello MOZART Symphony No. 41, K. 551 “Jupiter”

I. Allegro vivace II. Andante cantabile III. Menuetto: Allegretto – Trio IV. Molto allegro

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.

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

Tonight ProMusica presents a rare opportunity to hear Mozart’s first and final symphonies, works that will take you to the outer limits of this iconic composer’s orchestral world. With the First Symphony we experience the 8-year-old wunderkind’s virgin run with the genre, while the 41st, among the great symphonic achievements of the classical era, represents Mozart at his compositional peak. In between, two concertos by two other highly gifted musicians—the beloved Violin Concerto of Mendelssohn and the premiere of Joshua Roman’s Double Concerto for Violin and Cello, featuring the composer as cellist. It’s going to be an evening to remember!

WOLFGANG AMADEUS MOZART (1756-1791): SYMPHONY NO. 1 IN E FLAT, K.16 Instrumentation: two oboes, two horns, harpsichord and strings Composed: London, 1764 Premiered: London, February 21, 1765 Duration: 13 minutes THE SCOOP: Wolfgang Amadeus Mozart was the ripe age of eight when he produced a symphony for the first time.

Though he had composed little of consequence to this point, he was certainly no newcomer to the concert stage, having two years back already dazzled queens and princes as a prodigy violinist and pianist. The E flat Symphony was written in London, while the family was on tour and where Mozart’s father, Leopold, his only music teacher to this point, was being treated for a throat infection. Naturally, Mozart had to find

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inspiration in the work of others, so he looked to the music of his father, whose compositional abilities he would swiftly surpass, and CPE Bach, son of the great composer who was in London at the time of the Mozarts’ stopover there. There was also the music of the Italians who had more or less invented the genre, an outgrowth of the opera overture. At this stage of its development, the symphony was comprised of three movements—fast slow fast—and this, then, is the pattern Mozart took as his model.

Given his youth and compositional inexperience, it comes as no surprise that Mozart’s themes lacked true profile or revealed the working out of ideas.

His material is largely scaler or triadic, simply constructed, and his ideas carried out by gentle and attractive harmonic progressions. Nevertheless, the score demonstrates a talent already possessed of a mature concept of pacing, balance and orchestration. It is believed that Leopold aided his son with some of the finer details, but whatever the case, the eight-year-old upstart quickly made good use of whatever knowledge he gained and built upon it. Thus, Mozart was launched into the world of the classical symphony, a genre still in the relatively early stages of development and which he would do so much to single-handedly develop.

The two outer movements are in the key of E flat (the finale in a sprightly tripping 3/8 meter), the slow middle move in the dark key of C minor, a key Mozart would turn to over the years as home to some of his most profound musical thinking. Is it mere coincidence that this movement contains a horn theme—Do-Re-Fa-Me—that would return as the opening subject of the finale for his very last symphony (heard at the close of tonight’s program)?

While we are years away from the sophisticated scores we associate with Mozart’s meteoric talent, we nevertheless must marvel at the youth’s initial jump into symphonic waters. And while we’re at it, we might reflect upon what we ourselves were achieving at the age of eight!

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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 Composed: 1844 Premiered: Leipzig, March 13, 1845 Duration: 26 minutes THE SCOOP: 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 lesser-known 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-nine-year-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 longtime 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

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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.”

WOLFGANG AMADEUS MOZART: SYMPHONY NO. 41 IN C MAJOR, K. 551 “JUPITER” Instrumentation: flute, pairs of oboes, bassoons, horns, trumpets, timpani and strings Composed: 1788 Premiered: unknown Duration: 29 minutes THE SCOOP: This evening’s concert provides us with a rare opportunity to appreciate how far Mozart traveled musically in the less than 35 years granted him.

Given that his first work of substance, his Symphony No. 1, was composed at the age of 8, that left the Salzburg-born composer 27 years to mature into one of the world’s most prolific, influential and beloved composers. Whether opera, concerti, chamber music, choral works or symphonies, he achieved unprecedented heights with every genre in which he worked. When we listen to his 41st Symphony, we should keep in mind what a typical “classical” symphony sounded like around the mid-18th century—it by and large remained simple entertainment—and how far it developed in Mozart’s hands. And then we might wonder where it might have gone from there, had he been granted another decade’s time to work?

As we learned earlier in the season, his last three symphonies were composed in the short span of a number of weeks during the summer of 1788, during which time he also dispatched two piano trios and a violin sonata. Being consumed with a single work for weeks or months at a time is typically enough for most

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composers, yet to juggle them all simultaneously and bring them to completion is little short of miraculous. And this doesn’t even speak to the particular heights Mozart achieved with the last symphony he would ever compose. To detail these achievements here would require a book chapter, and those have been written. So beyond the fact of its stunning “Mozartness,” its arresting melodic turns and perfectly balanced contours, simply hint at what you’re about to hear. The outset of the opening Allegro vivace reveals that Mozart was pursuing a grand concept, featuring quick dynamic outbursts at the start, military-style rhythms and expansive secondary material. Beyond the extensive development, Mozart then recapitulates softly and in the “wrong” key of F major, before returning for yet more development (listen for the long chromatic descent in the cello and basses) until finally setting matters “right.” The slow movement, Andante cantabile, is again crafted in sonata form, providing more weight and seriousness of approach than what was commonly found in slow movements of the period. It should not go unnoticed that Mozart chose the key of F major here, that of the false recap heard earlier. Beyond the vintage grace we have come to expect from his scores, listen for the unusually dark and anguished harmonies of the development. The character of the Menuetto is that of a Ländler, an Austrian country dance, not the aristocratic minuet typical of such movements. Here again, chromaticism—listen for the winding lines of the solo winds—finds its way in, a characteristic not often associated with Mozartean charm, but which permeates many of his late scores.

Everything points to the finale and indeed there has been a trend in his later symphonies to assign everincreasing weight to the last movements. To drive his point home, Mozart not only opens with a fugue but provides five different themes throughout the course of the movement (most sonata-form finales rely on two!). Beyond the various fugal passages embedded in, yes, another sonata-form movement, Mozart delivers the piece de résistance as a coda, combining

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all his melodies into a grand fugue worthy of Bach.

The great musical encyclopedist Sir George Grove summed matters up: “it is for the finale that Mozart has reserved all the resources of his science, and all the power, which no one seems to have possessed to the same degree with himself.”

Listening to the symphony as a whole, but particularly the finale, we might easily conclude that Mozart must have known this would be his last symphonic offering.

Why else crown his work with such a towering achievement? The fact is, we don’t even know why the last three symphonies were composed. Opportunities to have such works performed were drying up for the composer, who had long outlasted his child-prodigy status and was often looking elsewhere for venues (Prague, for instance), and there are no extant records of any concerts featuring his last symphonies performed in Vienna or elsewhere. In the end, there is the sad possibility that Mozart never heard this music performed. Given such circumstances, it’s tempting to imagine the 31-year-old simply set out to challenge himself, to attempt to do what had never been done before (or since) within a symphonic setting. Once achieved, there was nothing left for Mozart to do but return to the world of opera, where there remained a living to be eked out. Of course, this is pure speculation and we can only wonder what might have been the result had the opportunity to create just one more symphony presented itself. To be certain, yet another miracle. © Marc Moskovitz www.marcmoskovitz.com

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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.

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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 effort 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, and Gabriela Montero. This season, we welcome three composer/performers to the Southern Theatre stage including Richard Scofano, Joshua Roman, and Caroline Shaw.

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Say hello to a company that cares.

We make it a priority to help the communities where our associates, members and partners live and work. That’s why Nationwide is proud to support ProMusica.

Learn more at nationwide.com/corporatecitizenship

Nationwide, the Nationwide N and Eagle and Nationwide is on your side are service marks of Nationwide Mutual Insurance Company. Š 2019 Nationwide CPO-1266AO.1 (08/19)

Meet the Musicians

Katherine McLin

Rebecca Willie

concertmaster, 20 years The Donald G. Dunn Chair Current Residence: Phoenix, AZ

assistant concertmaster, 5 years The Hillsdale Fund Chair Current Residence: Greensboro, NC

Amy Cave

Robert Gillespie

violin, 5 years The Randy & Marilyn Miller Chair Current Residence: Cleveland, OH

Heather Kufchak

violin, 9 years The Deborah Raita Chair Current Residence: Columbus, OH

violin, 37 years The Wilson Family Chair Current Residence: Hilliard, OH

Solomon Liang

violin, 1 year The Laurie & Thomas W. Hill Chair Current Residence: Cleveland Heights, OH

Jennifer Ross

principal second, 2 years The Joan M. Herbers Chair Current Residence: Jackson, WY

Eric Kline

violin, 8 years The Jim & Ida Copenhaver Ginter Chair Current Residence: Pickerington, OH

William Manley

violin, 14 years The Fran Luckoff Chair Current Residence: Columbus, OH

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.

Victoria Moreira

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violin, 5 years The Dyann & E. Joel Wesp Chair Current Residence: Chicago, IL

Koko Watanabe

violin, 2 years The Elizabeth Williams Chair Current Residence: Cleveland Heights, OH

Michael Isaac Strauss

viola, 4 years The Anne Powell Riley Chair Current Residence: Oberlin, OH

Joel Becktell

cello, 11 years The Donna K. Laidlaw Chair Current Residence: Albuquerque, NM

Jessica Smithorn

Mary Harris

Brett Allen

Stephen Goist

principal viola, 24 years The Margaret & Jerome Cunningham Chair Current Residence: Oxford, OH

viola, 9 years The Jane Werum Chair Current Residence: Columbus, OH

viola, 5 years The Regie & David Powell Chair Current Residence: New York, NY

Marc Moskovitz

Cora Kuyvenhoven

Nathaniel Chaitkin

principal cello, 25 years The Barbara Trueman Chair Current Residence: Durham, NC

cello, 19 years The Bob & Mary Frances Restrepo Chair Current Residence: Columbus, OH

John Pellegrino

Patrick Bilanchone

principal double bass, 8 years The John F. Brownley Chair Current Residence: Columbus, OH

Ilya Shterenberg

double bass, 3 years The Kathryn D. Sullivan Chair Current Residence: Jacksonville, FL

cello, 12 years The William K. Laidlaw Chair Current Residence: Cincinnati, OH

Donna Conaty

principal oboe, 30 years The Lee Shackelford Chair Current Residence: San Diego, CA

Jennifer Magistrelli

oboe, 1 year principal clarinet, 2 years clarinet, 8 years The Artie & Alisa Isaac Chair The Beth Grimes-Flood & Tom Flood Chair The Robert T. Bennett Chair 2 0 1 9 2 0 S E A S O N | promusicacolumbus.org Current Residence: Cincinnati, OH Current Residence: San Antonio, TX Current Residence: Richfield, OH

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Ellen Connors

bassoon, 4 years The Carolyn Merry & Bob Redfield Chair Current Residence: Cincinnati, OH

Stephanie Blaha

Timothy Leasure

principal horn, 2 years The Todd S. Swatsler Chair Current Residence: Wadsworth, OH

RenĂŠe Keller

principal timpani and percussion, 6 years The Michael & Jody Croley Jones Chair Current Residence: Lima, OH

Jeanne Norton

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Rachael Young

principal bassoon, 9 years The Loann W. Crane Chair Current Residence: St. Louis, MO

principal harp, 40 years The Sustaining Board Chair Current Residence: Columbus, OH

trumpet, 16 years The William & Wendy Faust Chair Current Residence: Pickerington, OH

Rajesh Prasad

percussion, 6 years The Bob Redfield & Mary Yerina Chair Current Residence: Raleigh, NC

Aya Hamada

principal harpsichord/keyboard, 15 years The ProMusica Board Chair Ida Copenhaver 2 0 1 9 - 2 0 S E in A Smemory O N | ofpromusicacolumbus.org Current Residence: New York, NY

Learn more about David’s story and other Columbus artists and events at ColumbusMakesArt.com.

Additional support from: The Sol Morton and Dorothy Isaac, Rebecca J. Wickersham and Lewis K. Osborne funds at The Columbus Foundation.

SUPPORTING ART. ADVANCING CULTURE. Artist and cultural organization grants and resources.

GCAC.org

Photo: Rick Buchanan | Design: Formation Studio

I am an orchestra conductor. My work begins far before anybody sees me on stage. I have learned that I need to dig deep into a piece to discover real meaning— it is like digging with your hands in the mud to find a little piece of gold. What inspires me most about Columbus is that the people of Columbus really try to make this city the best it can be. Because of this spirit there is a real buzz now in Columbus surrounding the arts.

How cool is that? I’m David Danzmayr, music is my art and there’s no place I’d rather make it.

Support ProMusica.

Join Our Family.

For more than four decades, ProMusica has presented world-class performances and important community outreach and education programs to Central Ohio. Ticket sales only cover a portion of the costs to produce our programs, and we are grateful to our family of donors who support this important work each season.

Your gift to the ProMusica Annual Fund is essential to ensure these programs continue to thrive and help make music accessible to all corners of our community.

To make a contribution to the ProMusica Annual Fund, give online at promusicacolumbus.org or contact ProMusica’s Development Office at 614.464.0066 ext. 104.

Did You Know?  ProMusica’s community outreach programs impact more than 16,000 lives each season – all provided at no cost.  More than 100 middle school students participate in our Play Us Forward program each year, providing instruments, first-rate instruction, and engaging musical experiences at no cost to students or their families.  ProMusica welcomes more than 5,000 guests annually to Franklin Park Conservatory and Botanical Gardens for our free Summer Music Series.  ProMusica partners with local retirement communities and welcomes hundreds each year to our Open Rehearsals for Seniors program.  We reach over 900 children and families each season through our Columbus Metropolitan Library Series, which facilitates free concerts across the Columbus community.

2018-2019 Annual Fund Contributors ProMusica Chamber Orchestra is grateful for our donors whose commitment and investment supports ProMusica in its mission to inspire people of all ages with world-class musical performances and outstanding educational programs. This generosity makes it possible for the innovative and diverse programming of performances, community outreach, events, and educational projects for which ProMusica is known.

We sincerely thank the following contributors for their generous gifts of $100 or more to our 2018-2019 season. Please consider making a tax-deductible contribution for ProMusica’s 2019-2020 Annual Fund Campaign 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 Deborah Anderson Margaret and Jerome Cunningham Donald G. Dunn Joan Herbers Kathryn Sullivan Todd Swatsler Barbara Trueman Anonymous Support from Foundations & Public Agency Funds American Electric Power Cardinal Health Foundation Leo J. Marks Fund and Kenneth L. Coe and Jack Barrow Fund of The Columbus Foundation The Crane Family Foundation DGD Group E. Nakamichi Foundation The Fox Foundation Greater Columbus Arts Council The Hillsdale Fund Ingram-White Castle Foundation Key Bank L Brands 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 George Barrett John F. Brownley Beth Grimes-Flood and Tom Flood Ida Copenhaver and Jim Ginter Jody Croley Jones and Mike Jones Donna Laidlaw Renee K. and George M. Levine Fund of The Columbus Foundation Deborah Neimeth Anne Powell Riley Regie and David Powell The Quintenz Family Mary Yerina and Bob Redfield Mary Frances and Bob Restrepo Dana Navin Schultz and Hugh Schultz Stephanie and Grant Stephenson

The Artie and Alisa Isaac Fund of The Columbus Foundation Suzanne Karpus The Mary and Robert Lazarus Fund of The Columbus Foundation Helen Liebman and Tom Battenberg Fran Luckoff Marilyn and Randy Miller Deborah Raita Jane Werum Dyann and Joel Wesp Elizabeth Williams Anonymous

Support from Corporations, Foundations & Public Agency Funds The Columbus Foundation – “5 Nonprofits to Watch” Award The Hattie and Robert Lazarus Fund of The Columbus Foundation

SPECIAL GIFTS In Honor of Janet Chen The Michael and Paige Crane Fund of The Columbus Foundation

SYMPHONY $3,000 - $4,999 Gifts from Individuals Rose Marie Bennett Denise and Barry Blank Lauren Bonfield and Stephen Keyes Wendy and Bill Faust Sylvia Goldberg Laurie and Thomas Hill Annjia Hsu and David Chan 2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

Support from Corporations & Foundations The Ann and Gordon Getty Foundation Porter, Wright, Morris & Arthur, LLP Susan Scherer Charitable Foundation

In Honor of Pat Garavito Cardinal Health CONCERTO $2,000 - $2,999 Gifts from Individuals Lavea Brachman and Andrew O. Smith The G. Britton and Carol Durell Family Fund of The Columbus Foundation Mary and Steve Burkey Peter and Jayne Wenner Costanza

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Lynn Elliott Pat and Darla Garavito Marty Johnson and John Gerhold Megan and John Gilligan Dara and Mark Gillis Susan Johnson Susan and Barry Lubow Drs. Bill Mitchell and Wayne Lawson Susan and Ken Quintenz David Schooler Tydvil Thomas Support from Corporations & Foundations The English Family Foundation The Puffin Foundation West SPECIAL GIFTS In Memory of Allene N. Gilman The Allene N. Gilman Charitable Trust In Memory of Frances Lazarus Peggy Lazarus RHAPSODY $1,000 - $1,999 Gifts from Individuals Sally and Roger Baughman Lynn and Paul Blower Barbara and David Brandt Catherine and John Brody Yvonne and Richard Burry Janet and Bob Castor Patt and Chuck DeRousie Keith Dufrane The David and Anne Durell Family Foundation of The Columbus Foundation Betsy and Jack Farrar Cornelia Ferguson Anne and Matthew Fornshell Judy Garel Katie and Jake Gibson Linda and Bill Habig Cindy Hafner Steven Hillyer Pamela Hussen and Patrick Vincent Margaret Malone Annegreth T. Nill and Bruce C. Posey Julie and Bob Rutter Elizabeth Sawyers Lynda and Doug Schockman Sallie Sherman Ann and Doug Teske

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Miriam and Bernie Yenkin Anonymous Support from Corporations & Foundations Happy Chicken Farms – Lackey Family Foundation The Hildreth Foundation Lewin Family/Hamilton Parker Foundation The Loft Violin Shop The Mattlin Foundation Yenkin-Majestic Industries Anonymous SPECIAL GIFTS In Honor of Dick Burry White Castle Systems, Inc. In Memory of George Corey Georgeann Corey In Memory of Pamela Romeo Elliott James Elliott SONATA $500 - $999 Gifts from Individuals Claudia and James Abrams Janet Armstrong and David Blau Jean Atwood and Michael Kirkman Julia and Milt Baughman Ellen Bowden Robert Byrd Julie and Bob Connors Jill and Ron Dean Bebe and John Finn Barbara and Gary Giller Melissa and Herb Hedden Adam and Rebbie Hill Brandy and Joshua Hill Marilyn and George Hoeflinger Patricia and Brent Jackson Kent Larsson Katherine and Yung-Chen Lu Elliott Luckoff Dorothea and Gerald Maloney Susan Meiling Panzer-Heitmeyer Fund of The Columbus Foundation Ruth and George Paulson Angela and John Petro Molly and Brian Snell Nancy Strause Colleen Nissl and Roger Sugarman 2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

Nancy and Raymond Traub Mary and William Vorys Bette Wallach Fund for Columbus Lillian and Francis Webb Anonymous SPECIAL GIFTS In Memory of Zelda Derber Clara D. Bloomfield and Albert de la Chapelle In Honor of Charles & Patricia DeRousie Budros, Ruhlin & Roe, Inc. In Memory of Garth Essig, Sr. Carol Prince In Memory of Alfred Strickler The Strickler Family Fund of The Columbus Foundation OVERTURE $250 - $499 Gifts from Individuals Pamela and John Beeler Jane Blank Constance Bodiker Katherine Borst-Jones E. Leroy Bundy Earl Busenburg Trish and John Cadwallader Janet Chen and Rick Buchanan Beth Crane and Richard McKee Jerrie Cribb Betsy and Nick DeFusco Mary and James Fewless Mary Jo Green Brian, Sarah & Danielle Hall Gayle and Vincent Herried Kay Huebner Rose Hume Fern Hunt Susan and Matt Karis Jeffrey Kipnis Chris Knisely and David McCoy Joyce and Willem Kogeler Susan and Douglas Levin Lisa and Michael Maggard Mary Pat Martin and Rick Livingston Christine Merritt The Dixie Sayre Miller Fund of The Columbus Foundation Karen and Neil Moss Sue Porter and Mike Sayre

Cordelia Robinson Linda Roomann and William Slutz Susan Rosenstock Patrick Ross Lenore Schottenstein Stacie and Mark Sholl Kitty and James Soldano Robert Wing The Yaffe/Stump Family Foundation of The Columbus Foundation Leslie Yenkin and Jonathan Petuchowski Fred Zacharias Anonymous SPECIAL GIFTS In Honor of Lavea Brachman Judith and Merom Brachman In Memory of John Picken: Mary Picken PRELUDE $100 - $249 Gifts from Individuals Diane and Ted Armbruster George and Vanessa Arnold Marjorie Bagley Dorothy Beehner Karen and Les Benedict Suzy and Adam Biehl Ted Blain Linda and Saul Blumenthal Byron and Joann Bossenbroek Henry Brecher Herbert Bresler Marjorie and John Burnham Marilee Chinnici-Zuercher Carol Ann Clark Bonita Covel Christina and Dan Crane Eugene Dahnke Carol and Jim Davis John Deliman Gerri Doebelin Lindsey and Kevin Dunleavy Virginia and Wade Duym Julie and Jeff Ellis Joanne Figge Judy and Ted Fisher Garold Flach Mabel Freeman Lynn Friedman Kay Fuller Gladys Geankopulos

Laura and Eric Geil Nick and Debbie Geldis Carole and Nelson Genshaft Barbara Glover Don Good David Guion Michele and Steve Gurevitz Ruth Guzner Lydia Hadley Hartzler Pianos Carol and Fred Hofer Deborah and Douglas King Gale and Steve Klayman Morgan and Jason Knapp Matthew Kurk and Nicole Kessler Barbara and David Lambert Carol and Lynn Larimer Eileen Lee and Raymond Hsieh Martha Lentz Syd Lifshin Elizabeth Marsh and Ralph LeVan Ruth and Dan Martin Jane McMaster Judy Michaelson Linda Miller Mark Miller Elizabeth and James Miner Marc Moskovitz Maureen Mugavin and Michael Fiske Larry and Peg Neal Gilbert Nestel Marilyn and Robert Nims David Patton John Pellegrino Sue and Howard Petricoff Sandra and Howard Pritz Susan Restrepo and Patrick Schlembach Sandra and Bryant Riley Rebecca Roeder and Steve Bigley Sharon Sachs and Donn Vickers Lyle Saylor Paulette Schmidt Stacie and Mark Sholl Amina Smajlovic Rose and Ronald Solomon David and Laurence Spurlock Ginny Stein and Michael Lockman Sadie and Seyman Stern Susan and King Stumpp Thomas Szykowny Deborah Urton Robin Vachon Gail Walter and Allen Proctor 2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

Betsy and Charles Warner Bernice and Chuck White Jill Whitworth Margie and Thomas Williams Anonymous SPECIAL GIFTS In Memory of Laurel & John Fosness Nancy Elam This list includes contributions made to ProMusica for the period of July 1, 2018 to June 30, 2019. 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.

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2019 Soirée Sponsors and Patrons Please help us thank the following corporations and individuals for their generous support of our 40th season benefit and concert.

GOLD SPONSORS Abercrombie & Fitch BakerHostetler Cardinal Health Foundation The COR Group of UBS Financial Services Barbara K. Fergus Fifth Third Bank Joan Herbers Huntington Bank Ice Miller LLP Jim and Ida Jones Day Porter, Wright, Morris & Arthur LLP Bob and Mary Frances Restrepo Lee Shackelford treetree Vorys, Sater, Seymour and Pease LLP The Westin Great Southern Columbus SILVER SPONSORS Crane Group Kegler, Brown, Hill & Ritter PNC Bank Diamond Hill Ologie Lucy Seabrook and Brian Deas BRONZE SPONSORS Claudia and Jim Abrams Janet Chen and Rick Buchanan Christopher Culley Fechtor Advertising Susan and Matt Kairis Steve Keyes and Lauren Bonfield Oles & Associates Morgan Stanley – The Capitol Group at Morgan Stanley MEDIA SPONSOR WOSU Classical 101

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GOLD PATRONS Lavea Brachman and Andrew O. Smith Marilyn and Martin Campbell Donald Dunn Lynn Elliott Megan and John Gilligan Jim Ginter Jody Croley Jones and Michael Jones Douglas and Monica Kridler Peggy Lazarus Nancy Marzella Jane and Robert McMaster Anne and Bill Porter Susan and Ken Quintenz Bob Redfield and Mary Yerina Lee Shackelford Kathryn Sullivan Todd Swatsler Miriam and Bernie Yenkin SILVER PATRONS Yvonne and Richard Burry Georgeann Corey Mindy and Mark Corna Drs. Stephen and Ellen Douglas Jim Elliott and John Behal Beth Grimes-Flood and Tom Flood Irvin Public Relations George Knight Dona Lantz Eric Luckingbeal Marilyn and Randy Miller Joseph and Cortney Pickens Lee Shackelford Gifford Weary Jayne Wenner and Peter Costanza BRONZE PATRONS Drew Boyer Donna Cavell Jill and Ron Dean Ann DiMarco Thomas and Melinda Donne Carol Hershey Durrell and John Erjavec Marilu and Tim Faber

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Betsy and Jack Farrar Michael Fiske and Maureen Mugavin Nader Gemayel Robert Hamilton Krista Hazen Joan Herbers Steven Hillyer and Thomas O’Reilly Melissa and Frank Ingwersen Tom and Mary Katzenmeyer Brian Leist Helen Liebman and Tom Battenberg Jennifer Markovich Mary Pat Martin and Rick Livingston Deborah Norris Matthews Lisa Miller and Elton Lee James Reardon Julie and Bob Rutter Rick Ruud and Barbara Place Lee Shackelford Mark and Stacie Sholl David Tweet DONATION Kathleen Miller IN-KIND DONATIONS Mary Pat Martin Rose Bredl Flowers & Gifts RAFFLE PRIZE DONATIONS American Electric Power Charles Penzone Salons The Easton Community Foundation Heritage Hotels and Resorts, Inc. Laurie and Tom Hill The Hilton Downtown Columbus Michael Jones and Great River Organics ProMusica Chamber Orchestra Board of Trustees The Refectory Restaurant & Bistro Susan Restrepo The Santa Fe Chamber Music Festival The Santa Fe Desert Chorale The Santa Fe Opera The Seasoned Farmhouse Together & Company

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 2018-2019 giving year (July 1, 2018– June 30, 2019).

In Memory of Jon “Mac” Anderson Mark F. Harris In Memory of Christine Gilbert Susan and Ken Quintenz Elizabeth Williams In Honor of Marty and Marilyn Campbell Elizabeth Williams In Memory of Lorraine Carlat Louis Carlat In Honor of Donna Conaty Robert Szykowny In Memory of Chuck Conn Elizabeth Clark In Memory of Ida Copenhaver Joseph and Carol Alutto Eric and Sandra Berkowitz Helen and William Bickell Allan and Katherine H. Burkman Trish and John Cadwallader Marilyn and Martin Campbell Janet Chen and Rick Buchanan Georgeann Corey Margaret and Jerome Cunningham Diane Driessen and Ron Currin Elfi Di Bella John Easton Max and Pam Felton Bebe and John Finn Meg and Mike Flack Beth Grimes-Flood and Tom Flood John Frazer Mabel Freeman Sue and James Gross Laurie and Thomas Hill Junior League of Columbus, Inc. Debora and Ira Kane Tom and Mary Katzenmeyer Denise Franz King Matthew Kurk and Nicole Kessler

Katie Kuvin Peggy Lazarus Judith Leach Susan and Douglas Levin Linda Levy Roy and Deborah Lewicki Helen Liebman and Tom Battenberg Carol McGuire Margaret and Larry Neal Sally and Jon Nesbitt Ohio History Connection Board of Trustees The Ohio State University, Fisher College of Business Parasol Homeowners Association, Inc. Paul Werth Associates, Inc. Ruth and George Paulson Jill Kiley and WIlliam Pease Mary Picken R. L. and Barbara Richards Rosanne and Mark Rosen Martin and Terri Schwalbe Erica Scurr Thekla R. Shackelford John Shepherd Hurlden Simpkins Marilyn R. Smith Brian and Molly Snell Barbara Sobala Stephanie and Grant Stephenson Judi and James Stillwell Nancy Strause Elizabeth Tracy Judy Watson Lillian and Francis Webb Dyann and Joel Wesp Margie and Thomas Williams Kathy Wolfgram

The ProMusica Board Chair in Memory of Ida Copenhaver Claudia and Jim Abrams Stephen Keyes and Lauren Bonfield Lavea Brachman and Andrew O. Smith Lynn Elliott Betsy and Jack Farrar Matthew and Anne Fornshell Pat and Darla Garavito Brian, Sarah & Danielle Hall Laurie and Thomas Hill Brent and Patricia Jackson Susan and Matt Karis Susan and Barry Lubow Susan and Ken Quintenz Bob Redfield and Mary Yerina Bob and Mary Frances Restrepo Julie and Bob Rutter Lee Shackelford Mark and Stacie Sholl Kathryn Sullivan Todd Swatsler In Memory of Eugene Dahnke Janet and Roger Chase In Honor of Donald Dunn Julia and Milt Baughman Sue and James Gross Rhonda and Michael Murnane Elizabeth Williams Jaroncyk and Massie Families

In Honor of Susan Quintenz David Schooler Elizabeth Williams In Memory of Joyce Shisler The Shisler and Bonaccorso Families In Honor of Stephanie Stephenson Ann and Rick Theders In Honor of Frances Webb Diana Forrest In Honor of Margaret Wells Martha Lentz In Honor of Elizabeth Williams Susan and Ken Quintenz 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

In Honor of Lynn Elliott Michele and Steve Gurevitz In Memory of John Fosness Deborah Raita In Honor of Nancy Marzella Susan and Ken Quintenz In Honor of Mo and David Meuse Laurie and Thomas Hill

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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 more than 100 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 2018-2019 school year.

INDIVIDUALS Deborah Anderson Louise Bishop Robert Byrd Amy Thompson and Stephen Fechtor Michael and Joy Gonsiorowski Laura Hansen Steven Hillyer Colleen Huckabee Susanne Jaffe Debora and Ira Kane Ursula and Wolfgang Kunze Barbara and David Lambert Martha Lentz Lewin Family/Hamilton Parker Foundation Helen Liebman and Tom Battenberg Syd Lifshin Mary McCafferty Sara Nekirk Cindy and Hans Poehlmann Susan and Ken Quintenz Kathleen Rowe Martha Tepper Carla Weiland

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

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For 30 years through memberships, special events, and volunteering our time, Sustaining Board members have raised over $800,000 to help sustain ProMusica’s artistic and education programs.

Join us, and be part of this legacy. sustainingboard@promusicacolumbus.org promusicacolumbus.org/about/sustaining-board

201 9-2020 PROGRAM 72nd SEASON

TICKETS

David Finckel, Wu Han & Philip Setzer OCT 19, 2019

Modigliani Quartet NOV 16, 2019

American Brass Quintet JAN 25, 2020

CAPA 614-469-0939 TicketMaster.com

ChamberMusicColumbus.org

Southern Theatre, 21 East Main St.

Calidore String Quartet FEB 29, 2019

Anthony McGill & Anna Polonsky Brentano String Quartet & Dawn Upshaw MAR 28, 2019 APR 18, 2019

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 vorys.com

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

From arts to business, from downtown to neighborhoods, from Sunday to game day, The Spirit of Columbus inspires us to do more each day to move our community forward.

HOME OF

columbusfoundation.org

drums • Custom Work • Lessons • Sales

885-7372 Mon-Fri 10-8 Sat 10-6

www.columbuspercussion.com

5052 N. High St. Columbus, OH 43214

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

Excellence.

Taft thanks ProMusica for bringing world-class experiences to our community.

www.taftlaw.com

WOSU TV WOSU KIDS WOSU PLUS Enriching lives through WOSU OHIO content and experiences 89.7 NPR NEWS that engage, inform and CLASSICAL 101 WOSU CLASSROOM BROAD & HIGH COLUMBUS NEIGHBORHOODS COLUMBUS ON THE RECORD IN THE KNOW ALL SIDES WITH ANN FISHER SNOLLYGOSTER PODCAST RIVET PODCAST STORYCORPS COLUMBUS PODCAST

wosu.org

Proud Excited

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!