ProMusica | Jan. - May 2025 Program Book

PROGRAM BOOK

THE

2024 25 SEASON

A love note to music.

MENDELSSOHN SYMPHONY NO. 2

DEATH AND THE MAIDEN

January 25 & 26

March 1 & 2

AARON DIEHL & RHAPSODY May 10 & 11

Excellence The CORE Group proudly supports ProMusica Chamber Orchestra Brent G. Coakley, CFP® Senior Vice President–Wealth Management Thomas P. Reusser, CFP® Senior Vice President–Wealth Management Jason Hull, CFP®, ChFC® Senior Vice President–Wealth Management

The CORE Investment Group UBS Financial Services Inc. 5007 Horizons Drive Upper Arlington, OH 43220 614-460-6554 advisors.ubs.com/coregroup

Jessica Penza, CFP® Financial Advisor

As a firm providing wealth management services to clients, UBS Financial Services Inc. offers investment advisory services in its capacity as an SEC-registered investment adviser and brokerage services in its capacity as an SEC-registered broker-dealer. 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 you understand the ways in which we conduct business, and that you carefully read the agreements and disclosures that we provide to you about the products or services we offer. For more information, please review the client relationship summary provided at ubs.com/relationshipsummary, or ask your UBS Financial Advisor for a copy. Certified Financial Planner Board of Standards, Inc. (CFP Board) owns the CFP® certification mark, the Certified finanCial PlannerTM certification mark, and the CFP® certification mark (with plaque design) logo in the United States, which it authorizes use of by individuals who successfully complete CFP Board’s initial and ongoing certification requirements. For designation disclosures, visit ubs.com/us/en/designation-disclosures. © UBS 2024. All rights reserved. UBS Financial Services Inc. is a subsidiary of UBS Group AG. Member FINRA/SIPC. CJ-UBS-1130435153 Exp.: 08/31/2025

CEO Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Music Director Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Creative Partner & Principal Guest Artist Biography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Important Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Boards and Administration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1 Mendelssohn Symphony No. 2 Biographies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 0 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 1 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Mendelssohn Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 4

Death and the Maiden

Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 7 Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 8 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 9 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 0

Aaron Diehl & Rhapsody

Biographies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 8 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 9 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 0 Meet the Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Financial Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 7

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:

Tom Battenberg & Helen Liebman Chair

Chief Executive Officer Welcome to our 2024-25 season!

We look forward to another great year of passionate performances, brilliant soloists, and glorious music making.

This year, we will experience new musical voices through the artistry of the graceful pianist Yeol Eum Son, tenor Daniel McGrew, and cellist Jeffrey Zeigler. The orchestra deepens our longtime commitment to championing composers and diverse voices of today with the exciting premieres our 71st and 72nd commissions—a new cello concerto by friend and composer Andy Akiho, and a co-commission with Carnegie Hall and The Knights featuring Columbus-native pianist Aaron Diehl, performing Michael Schachter’s Rhapsody, celebrating the 100th anniversary of Gershwin’s Rhapsody in Blue.

The Capital University Chapel Choir joins as a new collaborator, and this year, our friend Paul Rissmann partners with Creative Partner Vadim Gluzman for our popular NAKED CLASSICS. We kick off the season to present for the first time Kurt Weill’s masterpiece, The Seven Deadly Sins featuring vocalist Storm Large, of Pink Martini fame. The entire year will radiate energy, excitement, connection, and joy that can only be experienced together through live music.

With artistic risk, there is great musical reward. It is a privilege to share our music with you, and we thank you for sharing your evening with us. Please join us all season long to experience the continued musical magic of ProMusica.

Sincerely,

Janet Chen Chief Executive Officer

Born in America and raised in Taiwan, Janet Chen has led an active and diverse career as a performing musician, arts administrator, and music educator. A classically trained flutist, Janet made the switch to arts management serving as ProMusica’s Operations and Education Manager and now as CEO. Under her tenure, ProMusica has doubled its annual operating budget — establishing new artistic programs and outreach collaborations, including its free outdoor Summer Music Series concerts; its “Play Us Forward” initiative putting instruments and music instruction into the hands of underserved students; and commissioning America’s living composers with 70 new works created to-date. In close partnership with the orchestra’s artistic leadership, the orchestra has achieved national and international acclaim as one of the top chamber orchestras of today.

Janet has been recognized as a YWCA Columbus Woman of Achievement and honored by Business First as one of the “Most Admired Executives in Central Ohio.” Most recently, she was a finalist for “CEO of the Year” in the small non-profit category by Columbus CEO. She was selected as a 2021 honoree by the Women for Economic and Leadership Development (WELD). In 2018, she was one of ten members representing Columbus at the Young American Leaders Program at the Harvard Business School.

Janet serves on the Boards of Creative Ohio and Experience Columbus and is a member of the Columbus Cultural Leadership Consortium.

Janet 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. Prior to joining ProMusica, she was a member of the Taipei Symphony Orchestra in Taipei, Taiwan, and spent two summers as a flute instructor at the Interlochen Center for the Arts in Michigan.

Photo: Shellee Fisher Photography & Design for WELD

From the

Design | Formation Studio

TAKE A SELF-GUIDED PUBLIC ART TOUR Vanitas by Todd Slaughter is part of the Sculpture & Installation Tour with Andrea Myers

Find the Sculpture & Installation Tour with Andrea Myers and more at

ColumbusMakesArt.com/Tours

ColumbusMakesArt.com is a project of:

Photo: Rick Buchanan Photography

The Elizabeth M. Ross Music Director

David Danzmayr

Described by The Herald as “extremely good, concise, clear, incisive and expressive,” David Danzmayr is widely regarded as one of the most exciting European conductors of his generation.

Danzmayr is in his third season as Music Director of the Oregon Symphony, having started his tenure there in the orchestra’s 125th anniversary season. He also stands at the helm of the versatile ProMusica Chamber Orchestra of Columbus, Ohio, an innovative orchestra comprised of musicians from all over the United States.

In addition, he holds the title of Honorary Conductor of the Zagreb Philharmonic Orchestra. He served as the group’s Chief Conductor, leading the Zagreb musicians on several European tours and in concerts at Salzburg Festival Hall, where they performed the prestigious New Year’s concert, and the Vienna Musikverein.

David has won prizes at some of the world’s most prestigious conducting competitions including the International Gustav Mahler Conducting Competition and the International Malko Conducting Competition. In recognition of his successes, he has been awarded the Bernhard Paumgartner Medal by the Internationale Stiftung Mozarteum.

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Propelled into a far-reaching international career, Danzmayr has quickly become a sought-after guest conductor. He has worked throughout the United States with the symphonies of Cincinnati, Minnesota, St. Louis, Seattle, Baltimore, Atlanta, Indianapolis, Detroit, North Carolina, San Diego, Colorado, Utah, Milwaukee, New Jersey, the Pacific Symphony, Chicago Civic Orchestra, Houston Symphony, and Grant Park Music Festival.

In Europe, David has led the Deutsche Kammerphilharmonie Bremen, City of Birmingham Symphony Orchestra, Bamberger Symphoniker, Sinfonieorchester Basel, Mozarteum Orchester, Essener Philharmoniker, Hamburger Symphoniker, Iceland Symphony Orchestra, Odense Symphony, Salzburg Chamber Philharmonic, Bruckner Orchester Linz, and the Radio Symphony Orchestras of Vienna and Stuttgart. He has served as Assistant Conductor of the Royal Scottish National Orchestra, performing in all the major Scottish concert halls and in the prestigious, Orkney based, St Magnus Festival.

He frequently appears in the world’s most renowned concert halls, such as the Musikverein and Konzerthaus in Vienna, Grosses Festspielhaus Salzburg, Usher Hall Edinburgh, and the Symphony Hall in Chicago.

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.

He was also 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, Sir Andrew Davis, and Pierre Boulez, who entrusted Danzmayr with the preparatory rehearsals for his own music.

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Photo: Marco Borggreve

Creative Partner & Principal Guest Artist The Wilson Family Chair

Vadim Gluzman Universally recognized among today’s top performing artists, Vadim Gluzman breathes new life and passion into the golden era of the 19th and 20th centuries’ violin tradition. Gluzman's wide repertoire embraces new music, and his performances are heard around the world through livestreams, broadcasts and a striking catalogue of award-winning recordings on BIS, Platoon and EuroArts labels.

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

Gluzman starts the 2024/25 season with his return to the Grant Park and Colorado Music Festivals, followed by performances with the Gewandhaus, NDR Elbphilharmonie, and the Bavarian Radio Orchestras, Solistes Européens Luxembourg, as well as Pittsburgh, Vancouver and New Jersey Symphony Orchestras.

He continues to lead performances with ProMusica Chamber Orchestra in Columbus, Ohio, where he serves as a Creative Partner and Principal Guest Artist.

Gluzman has premiered works by Sofia Gubaidulina, Moritz Eggert, Giya Kancheli, Elena Firsova, Pēteris Vasks, Michael Daugherty and Lera Auerbach. In the current season he continues to introduce the new violin concerto

by Erkki-Sven Tüür “Dialogues with the Unknown”, commissioned for Gluzman by the HR Frankfurt Radio Orchestra and the Oregon Symphony.

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 and ClassicFM. Distinguished Artist in Residence at the Peabody Conservatory, where he teaches a selected group of young violinists, Gluzman performs on the legendary 1690 ‘ex-Leopold Auer’ Stradivari, on extended loan through the Stradivari Society of Chicago.

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

Cell Phones, Pagers, and Signal Watches should be turned off prior to the performance. Cameras and recording devices may not be used in the theatre without prior authorization from ProMusica.

Concessions are available inside the front doors to the left.

An ATM machine is located in the Westin Columbus hotel lobby, adjacent to the theatre.

Restrooms are located at the top of the stairs, men’s on the left and women’s on the right. Handicap accessible restrooms are at the back of the main floor seating.

Special Needs Services are available. Please ask an usher for assistance.

Assisted Listening Devices for sound amplification are available upon request at the concession area.

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

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

TICKETS OR ADDITIONAL INFORMATION Ticket Exchanges are only available to season subscribers.

Returned tickets qualify as a tax-deductible gift to ProMusica but must be returned no later than the Thursday prior to the concert. Call ProMusica at 614.464.0066 or return tickets by mail.

Discounted Group Rates are available.

Call 614.464.0066 for pricing and additional information.

Student Tickets are available for $12 through the ProMusica office.

To purchase tickets or for additional information, call 614.464.0066 or visit www.promusicacolumbus.org.

OUR MISSION

To deliver a world-class chamber

About the Orchestra ProMusica and our 37 musicians are redefining what it means to be a chamber orchestra.

For four decades, ProMusica’s programs have honored the classics and celebrated the contemporary through worldclass performances and creative approaches to musical storytelling.

Led by Music Director David Danzmayr and Creative Partner Vadim Gluzman, renowned violinist, the orchestra reaches a broad audience across the city—as the resident orchestra at the intimate Southern Theatre in downtown Columbus, and at notable venues beyond the I-270 outer belt. In 2017, ProMusica made its Chicago debut performing for a soldout crowd at the North Shore Chamber Music Festival. Most recently, in May 2024, the orchestra collaborated with the award-winning artist, composer, multi-instrumentalist, and visionary Jon Batiste for a two-day musical residency, which included the world premiere of this first piano concerto.

We embrace an array of eras and influences—as masters of classical works, champions of bold new commissions and innovators of crossover collaborations, ProMusica’s

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

performances are time-tested and modern, presented in ways that few orchestras can. We are widely recognized as a national leader in promoting contemporary repertoire— with 72 commissions and more than 120 world and regional premieres by composers including Pulitzer Prize winners Kevin Puts and Aaron Jay Kernis, Gabriela Montero, Michael Daugherty, Lera Auerbach, Conrad Tao and Joshua Roman.

In addition, ProMusica has an active recording program with 13 CDs released to date. This is a testament to the world-class musicians on stage who thrive on artistic exploration and risk-taking—performing with the highest skill, emotion and humanity for our audiences.

Deeply rooted in our city’s cultural fabric, ProMusica’s community outreach programs impact approximately 17,000 lives each season. Musicians travel to local schools, senior citizens attend live rehearsals, and underserved youth are given life-changing opportunities with the power of music. Programs such as “Play Us Forward” offer an integrated, in-school curriculum, while family concerts at Columbus Metropolitan Library branches provide arts access in nurturing neighborhood environments. “Coda: Post-Concert Conversations” gives the opportunity for a direct dialogue between audiences and guest artists— deepening engagement with the music and performers.

Our annual Summer Music Series at Franklin Park Conservatory & Botanical Gardens is free and open to the public, demonstrating our unwavering commitment to offer accessible and transformative performances to all residents in our community.

ProMusica is a truly personal arts experience, one that’s full of surprise and delight and belonging. ProMusica is more than an orchestra. It’s a movement. And we’re thrilled you’ve chosen to be a part of it tonight.

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WISHING YOU A FANTASTIC SEASON, PROMUSICA!

The families of

The families of Yenkin-Majestic PAINT CORPORATION Yenkin-Majestic

PAINT CORPORATION

Board of Trustees and Administration OFFICERS

President Lavea Brachman, Brookings Institution Past-President Bob Redfield, Civic Leader Vice-President Nancy Falk, Civic Leader Vice-President Joan Herbers, The Ohio State University Vice-President Christine Kullberg, Cardinal Health Vice-President Susan Lubow, BakerHostetler Treasurer Elizabeth Turrell Farrar, Civic Leader Secretary Elizabeth Moyo, Porter, Wright, Morris & Arthur LLP

TRUSTEES

Nelson D. Cary, Vorys, Sater, Seymour and Pease LLP Lynn Elliott, Columbus Window Cleaning + William Faust, Ologie Jake Gibson, Bank of America Michael Gladman, Jones Day Kelsey Gregory, PNC Bank David Hedgecoth, The Ohio State University Laurie Hill, Civic Leader + Stephen Keyes, Abercrombie & Fitch Eric Kline, ProMusica Musician Representative Samuel H. Porter, III, Ice Miller LLP Susan Quintenz, Civic Leader Julie A. Rutter, American Electric Power Peyman Salehi, Fifth Third Bank Lee Shackelford, Physician Caitlin Sherman, JewishColumbus Mark Sholl, Hilliard City Schools Lydia Smith-Lockwood, Upper Arlington City Schools + Todd Swatsler, Partner (retired), Jones Day

EX-OFFICIO

Janet Chen, Chief Executive Officer The Tom Battenberg & Helen Liebman Chair David Danzmayr, Music Director The Elizabeth M. Ross Music Director Mary Oellermann, Sustaining Board Representative

ADMINISTRATION Janet Chen

David Danzmayr

Vadim Gluzman

Mayra Aburto Lauren Blair Yvette Boyer Carolyn Caldwell Lane Champa

Dave Humeston Suzanne Jennison Matthew Kurk

Brittany Lockman Austin Spillman Mariana Szalaj

Chief Executive Officer T he Tom Battenberg & Helen Liebman Chair Music Director The Elizabeth M. Ross Music Director C reative Partner & Principal Guest Artist The Wilson Family Chair E xecutive Assistant & Special Projects Manager Education & Community Engagement Manager Finance Manager Grants Consultant Play Us Forward Coordinator & Lead Instructor Ticketing & Data Services Manager Orchestra & Operations Manager Director of Advancement & Engagement Director of Marketing Operations & Education Assistant Music Librarian

TRUSTEES CIRCLE Artie Isaac, Chair Deborah Anderson Tom Battenberg Milt Baughman Martin Campbell Mark Corna Peter Costanza Jim Elliott Beverley Ervine Jim Ginter

Melissa Ingwersen Katherine Borst Jones Suzanne Karpus Donna Laidlaw Boyce Lancaster Mary Lazarus Peggy Lazarus Nancy Marzella Dr. William Mitchell Bernie Yenkin

+ Executive Committee Member

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The sound of innovation We proudly support ProMusica, delivering inspiring performances, engaging diverse audiences and breaking new ground in chamber music for more than 40 years.

bakerlaw.com

Sustaining Board Since 1988, members of the ProMusica Sustaining Board have volunteered to raise community awareness and funds for the orchestra. Our membership and events help sustain ProMusica’s artistic and education programs. Annual membership dues are $50 (Musician), $125 (Principal) and $200 (Concertmaster). Join us and be part of this legacy!

EXECUTIVE COMMITTEE

MEMBERS-AT-LARGE

Mary Oellermann President Marianne Mottley Vice President Marquell Segelken Secretary Michael Maggard Treasurer

PAST PRESIDENT ADVISORS

Yvonne Burry Betty Giammar Donna Laidlaw Bob Redfield Laurie Schmidt-Moats Mary Yerina

APPOINTMENTS

Sally Baughman and Mary Oellermann Culinary Capers Mark Butler Electronic Services Yvonne Burry Historian Judy Michaelson Marketing Donna Cavell and Jennifer Markovich Membership Jennifer Markovich Newsletter Laurie Schmidt-Moats Nominating Marianne Mottley Special Events Rose Hume Sunshine

Beverley Ervine Paul George Barbara Goettler Steven Hillyer Boyce Lancaster Barry Liss Thom O’Reilly Lee Shackelford Dyann Wesp

CONCERTMASTER MEMBERS

Jordan Andrews Anonymous Sally Baughman Meredith Bonham* John Brownley* Daniel Burry Richard Burry Yvonne Burry Sandy Byers Donna Cavell Janet Chen Marilee Chinnici-Zuercher Darci Congrove Harriet Donaldson Ellen Kay Douglas Beverley Ervine Paul George Betty Giammar Barbara Goettler Beth Grimes-Flood Laurie Hill Steven Hillyer Jody Croley Jones Michael Jones Janet Kerekes* Sharon Kokot Nina Kraguljac* Donna Laidlaw Boyce Lancaster Mary Lazarus Barry Liss Kathy Ludlam Lisa Maggard Michael Maggard Jennifer Markovich Nancy Marzella Sally McDonald* Judy Michaelson

Marianne Mottley Brad Myers* Peg Neal Mary Oellermann Thomas O’Reilly Dorothy Pritchard Susan Quintenz Deb Raita Subha Raman* Bob Redfield Stephanie Riedmiller Robert Rutter Laurie Schmidt-Moats Lee Shackelford Caitlin Sherman* Sallie Sherman Patti Shorr* Kitty Soldano* Beth Stafa Stephanie Stephenson Jody Wasbro* Robert Wing Miriam Yenkin Mary Yerina

PRINCIPAL MEMBERS Claudia Abrams Susan Altan* Peg Bainbridge Barbara Bechtel* Susan Berry* Kim Bingle Nancy Brownell Mark Butler Nancy Edwards Barbara Elliott Lynn Elliott Marion Fisher Ellen George Rose Hume Angela LaMonte* Adele Lipari* Andrew Maggard Marybeth McDonald Susan McDonough Diane Meves* Clare Reter* Jude Reter* Eileen Ryan* Hugh Schultz Marquell Segelken

Contact the Sustaining 2Board 0 2 4 - 2at 5 sustainingboard@promusicacolumbus.org.

S E A S O N | promusicacolumbus.org promusicacolumbus.org/give/volunteer/sustainingboard

Gail Walter Dyann Wesp Margie Williams Becky Wright Serie Zimmerman

MUSICIAN MEMBERS Dale Abrams* Ellen Bowden Gwen Burt* Georgeann Corey* Phyllis Craver* Celia Crossley* Lindsey Dunleavy Nancy Falk* Elizabeth Turrell Farrar Katherine Goldberg* Elayne Gunder Jo Ellen Helmlinger* Michele Johnston* Deborah King* Joan Kirschner Linda Kurtz Barbara Ludwig* Cindy Mackin Jane Mazza* Brenda Perrin* Jan Quatman Anne Powell Riley Patricia Webb* Lillian Zarzar* Sherry Zox* * New member Honorary Member Judy Pishitelli For her noteworthy contributions to the ProMusica Sustaining Board

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 Sam Porter 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.

350+ lawyers in Columbus and beyond icemiller.com ATTORNEY ADVERTISING MATERIAL

January Guest Artist

Yulia Van Doren has thoughtfully cultivated a unique career as one of the foremost concert singers of her generation. Particularly recognized for her work in baroque repertoire, Ms. Van Doren has been presented as a guest artist by a majority of the premiere North American orchestras and festivals and is featured on two Grammynominated opera recordings with the Boston Early Music Festival.

Photo: Daniel Iannini

Yulia Van Doren, soprano

Macau with Akademie für Alte Musik Berlin, and at the Royal Concertgebouw Amsterdam; eclectic 20th-century repertoire as the featured soprano of the 2013 Ojai Music Festival; several world premieres at Carnegie Hall; and nationally-televised performances at the Cartagena International Music Festival with soprano Dawn Upshaw, a cherished career mentor. She has been a soloist for choreographer Mark Morris since 2007, singing many national and international performances with his dance company.

Ms. Van Doren’s graduate degree was generously supported by a PD Soros Fellowship, postgraduate study in Paris by a Beebe Fellowship, and she is an Astral Artist laureate. Yulia is also the founder of a holistic wellness brand that is an innovator in its genre, and author of three books that are award-winning international bestsellers, with over a quarter-million copies sold in eight translations. She is currently developing a project related the intersection of music, science, and holistic healing.

She has sung leading roles in a variety of diverse repertoire, including the world premiere of Shostakovich’s Orango with the Los Angeles Philharmonic, directed by Peter Sellars and released on Deutsche Grammophon; the modern revival of Monsigny’s Le roi et le fermier at Opera de Versailles, the Kennedy Center and Lincoln Center; Alessandro Scarlatti’s rarely-performed opera Tigrane at Opera de Nice; Monteverdi concerts in Venice with Sir John Eliot Gardiner; Handel’s Acis and Galatea in 16

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January Guest Artist

Martha Guth, soprano Juno nominated soprano Martha Guth’s recital and concert highlights include Wigmore Hall, Lincoln Center, The National Cathedral, St. John Smith Square, The Toronto Symphony Orchestra, Ravinia, The Lincoln Trio, The Chicago Philharmonic, Voices of Ascension, and many more.

Her longtime recital and touring partners include Graham Johnson and Erika Switzer. Her recitals and concerts have been recorded and broadcast for the CBC Radio/Radio Canada, the BBC Radio in the U.K and the WDR in Germany and she is proud to have worked under the batons of Maestro’s Seiji Ozawa, Robert Spano, Helmut Rilling, John Nelson, Richard Bradshaw, and Alan Gilbert among many others.

Her discography includes Summer Night, a Juno nominated disc of songs by Healy Willan on Centrediscs for The Canadian Art Song Project with Allyson McHardy, Helen Becqué and Peter Barrett; Das Ewig Weibliche, a solo disc of Schubert songs with Penelope Crawford on fortepiano; Roberto Sierra’s Beyond the Silence of Sorrow, with the Orquesta Sinfonica de Puerto Rico for Naxos (nominated for a 2016 Latin GRAMMY); John FitzRoger’s Magna Mysteria for the Innova label; Go by Contraries, songs of Andrew Staniland with Baritone Tyler Duncan and Pianist Erika Switzer released on Centre Discs, The Brahms Liebeslieder Waltzes for Sparks & Co., and The Five Boroughs Song Book for GVR records. Forthcoming is a disc for Naxos of Mendelssohn’s Lobgesang with the Yakima Symphony.

With Erika Switzer, she is Co-Founder/Director of Sparks & Wiry Cries, a non-profit dedicated to art song spanning publication, live performance, and commission of new works. Sparks is the force behind the popular regional songSLAM’s that are presented in partnership with other song organizations and Universities all over the world from Slovenia to the U.K., Canada, and every region of the U.S., and presents its own sparksLIVE productions every January in NYC. In 2023 as Co-Director of Sparks & Wiry Cries, Martha led a partnership with the Metropolitan Museum of Art and the Philadelphia Chamber Music Society in Philadelphia to produce the world premiere of Freedom on the Move: Songs in Flight composed by Shawn Okpebholo with performers Rhiannon Giddens, Karen Slack, Will Liverman, Reggie Mobley and Howard Watkins. Her 2023-2024 season included a recital and masterclass tour with Graham Johnson, Handel’s Messiah in Binghamton, Mahler’s 2nd Symphony with the Charleston Symphony, Schubert songs with the Finger Lakes Chamber Music Society, a residency in partnership with Oxford Song at Bard and Ithaca College, a recital and Masterclass at the University of Michigan with Erika Switzer, and many new projects with beloved collaborators – many of whom are listed above, some who are new.

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Photo: Shervin Lainez

January Guest Artist

Daniel McGrew, tenor Praised for his “lovely, nuanced tenor” (Boston Musical Intelligencer), First Prize winner in the 2021 Young Concert Artists Susan Wadsworth International Auditions, Daniel McGrew is an active performer of a broad range of repertoires spanning opera, musical theatre, early, and new musics.

Deeply committed to the Art of Song, he has appeared in concert with Brooklyn Art Song Society, New York Festival of Song, Philadelphia Chamber Music Society, and the University Musical Society, where he joined Martin Katz and three other singers for two recitals comprising the complete Mörike Songs of Hugo Wolf.

Daniel has recently performed the tenor solo in Handel’s Messiah in performances with ProMusica Chamber Orchestra (Columbus, OH) and Music Worcester (Worcester, MA) and in Mozart’s Requiem with the American Chamber Orchestra.

An early music specialist, Daniel has performed Bach with conductors including Matthew Halls, John Harbison, David Hill, and Masaaki Suzuki, and Anthony Newman. Beyond the classical repertory, he has participated in concerts including the symphonic premier of James Lapine’s Sondheim on Sondheim with the Boston Pops Orchestra and David Loud’s Sondheim revue, A Good Thing Going.

Daniel holds degrees from Oberlin Conservatory and Yale University; he recently completed his doctoral studies at the University of Michigan.

Recent highlights include both his NYC recital debut at Merkin Hall and his Washington, DC recital debut at the Kennedy Center’s Terrace Theatre. He has appeared at Tanglewood Institute in George Benjamin’s Lessons in Love and Violence and in the role of François in Bernstein’s A Quiet Place and participated in their annual Festival of Contemporary Music with a performance of Kurtág’s “Three Ancient Inscriptions” that The Boston Globe, called “viciously beautiful.”

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Capital University Chapel Choir The Capital University Chapel Choir, established in 1929, is renowned for its Lutheran choral tradition and national and international acclaim as a premier collegiate choral ensemble.

Under the direction of Dr. Lynda Hasseler, the Chapel Choir is known for their performance of a broad and inclusive range of choral literature, flexible and expressive choral tone, and commitment to storytelling with song. Invited to prestigious conferences and competitions worldwide, the choir has garnered recognition and accolades, including a world premiere at the American Choral Directors Association National Conference, winning gold medals at the World Choir Games, the 2018 American Prize for the Performance of American Music and frequent collaborations with renowned composers and conductors. The choir's extensive touring history has fostered cultural connections across continents, promoting the transformative power of music, most recently in the Netherlands, Belgium, and Spain.

Lynda R. Hasseler, director Lynda R. Hasseler, D.M.A., became the director of the Capital University Chapel Choir in 1990, making history as the first woman to lead a Lutheran collegiate choral program. She is also a Professor of Music and Director of Choral Activities at Capital University's Conservatory of Music, where she directs multiple choral ensembles and teaches conducting. In demand as a clinician and guest conductor, she performs regionally, nationally, and internationally with singers of all ages. As a singer, she has performed, toured, and recorded nationally and internationally with professional choral ensembles including the Robert Shaw Festival Chorus and the Oregon Bach Festival Chorus. Her notable achievements include directing premieres of commissioned works and receiving prestigious awards including the 2018 American Prize for the Performance of American Music.

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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 Michael Jones & Jody Croley Jones Chair Rebecca Willie, assistant concertmaster The Kathryn D. Sullivan Chair Jennifer Ross, principal second* The Brachman Smith Family Chair **Amy Cave The Randy & Marilyn Miller Chair Eric Kline The Jim & Ida Copenhaver Ginter Chair Heather Kufchak The Deborah Raita Chair Solomon Liang The Laurie & Thomas W. Hill Chair William Manley The Fran Luckoff Chair Victoria Moreira The Dyann & E. Joel Wesp Chair Koko Watanabe The Sallie J. Sherman Chair VIOLAS Elias Goldstein, principal The Amy Thompson & Stephen Fechtor Chair **Stephen Goist* The Keith F. and Katherine B. Dufrane Trust Chair Mary Harris The Margaret & Jerome Cunningham Chair Michael Isaac Strauss The Anne Powell Riley Chair VIOLONCELLOS Marc Moskovitz, principal The Barbara Trueman Chair **Joel Becktell The Donna K. Laidlaw Chair Nat Chaitkin The William K. Laidlaw Trust Chair Cora Kuyvenhoven T he Bob & Mary Frances Restrepo Chair BASSES John Pellegrino, principal* The John F. Brownley Chair Boris Astafiev+

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FLUTES Nadine Hur, principal The Dana Navin Schultz Chair Anthony Trionfo The Miriam & Bernard Yenkin Chair OBOES Donna Conaty, principal The Lee Shackelford Chair Jessica Smithorn The Artie & Alisa Isaac Chair CLARINETS Ilya Shterenberg, principal T he Beth Grimes-Flood & Tom Flood Chair Jennifer Magistrelli The Jack & Betsy Farrar Chair BASSOONS Ellen Connors, principal The ML Chair Rachael Young The Carolyn Merry & Bob Redfield Chair HORNS Stephanie Blaha, principal The Todd S. Swatsler Chair Matthew Oliphant+ The Burkey Family Chair TRUMPETS Andrew Jeng+ co-principal Justin Kohan+ co-principal The Susan L. Quintenz Chair Timothy Leasure TIMPANI & PERCUSSION Renee Keller, principal The Susan C. Johnson Chair Rajesh Prasad The Bob Redfield & Mary Yerina Chair HARP Jeanne Norton, principal The Sustaining Board Chair HARPSICHORD Aya Hamada, principal The ProMusica Board Chair in memory of Ida Copenhaver

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ASSISTING MUSICIANS Galina Kiep bassoon Michelle Baker horn Corbin Castro horn Kelsey Williams horn Stephen Campbell trumpet David Roode trombone Michael Charbel trombone Chad Arnow trombone Christopher Blaha tuba Sarah Waters percussion Eric Willie percussion Jeremy Bankson organ Scott Cuellar piano Roger Hines bass Julian Maddox violin Tea Prokes violin Naomi Culp violin David Rose viola Joseph Mueller cello Christopher White bass ORCHESTRA MANAGER Suzanne Jennison ** Begins the alphabetical listing of string players who participate in a system of rotated seating. *On leave for the 2024-25 season +One year appointment The Musicians of the ProMusica Chamber Orchestra are members of, and represented by, the Central Ohio Federation of Musicians, Local 103 of the American Federation of Musicians.

Mendelssohn Symphony No. 2 Yulia Van Doren, soprano Martha Guth, soprano Daniel McGrew, tenor Capital University Chapel Choir David Danzmayr, conductor Southern Theatre // Saturday, January 25 // 7:00 PM Southern Theatre // Sunday, January 26 // 7:00 PM KANCHELI

Midday Prayers M artha Guth, soprano Ilya Shterenberg, clarinet

Intermission

Intermission lasts 15 minutes MENDELSSOHN Symphony No. 2 “Lobgesang” (Hymn of Praise)

1. Sinfonia:

Maestoso con moto – Allegro

Allegretto un poco agitato Adagio religioso 2. Chorus, Soprano 1, and Semi-Chorus: All men, all things, all that have life and breath Praise the Lord

3. Tenor Recitative and Aria: Sing ye Praise

4. Chorus: All ye that cried unto the Lord

5. Soprano Duet and Chorus: I waited for the Lord 6. Tenor: The sorrows of Death 7. Chorus: The Night is Departing

8. Chorus: Let all men praise the Lord

9. Soprano 1 and Tenor Duet: My song shall be always Thy Mercy

10. Chorus: Ye nations, offer to the Lord

Yulia Van Doren, soprano

M artha Guth, soprano

D aniel McGrew, tenor

C apital University Chapel Choir Stay for Coda: Post-Concert Conversation. Meet Yulia Van Doren, Martha Guth, Daniel McGrew, and David Danzmayr and learn more about tonight’s program.

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January About the Music Giya Kancheli (1935-2019): Midday Prayers

Instrumentation: Scored for solo clarinet, alto flute/ piccolo, oboe, bassoon/contrabassoon, horn, two trumpets, three trombones, tuba, percussion, piano, amplified bass guitar, percussion, violin, viola, cello, bass, and soprano voice Composed: 1991 Duration: 24 minutes Giya Kancheli’s Midday Prayers, from his 1991 cycle “Life without Christmas” possesses an unquestionable liturgical character, evident in the tolling of bells and the peaceful prayer, “Deus, Deus meus” (Psalm 22), “My God, My God, why hast thou forsaken me?” intoned by the soprano toward the work’s end. But taken as a whole, Kancheli’s work is much more than a prayer.

It’s a lament. It’s a scream of terror or grief. It is a mystical and serene means of contemplation. Kancheli’s 24-minute score is like a dream, wherein familiar images pass fleetingly through our unconscious, though their concrete meaning eludes us. It is a voice crying in the wilderness. And ultimately, it is peace.

Born in Tbilisi, Georgia, Giya Kancheli left for Berlin with the dissolution of the Soviet Union in 1991, and then for Antwerp, though he ultimately returned home to Georgia, where he died of heart failure at the age of 84. As with many of his Soviet compatriots, among them Arvo Pärt, Alfred Schnittke, and Sofia Gubaidulina, until Kancheli moved to the West, he remained musically shackled, unable to fully disclose himself artistically.

Once free, his music flowered and became embraced by major figures and institutions worldwide.

Kancheli’s style is timeless and familiar, modern and archaic. Matter unfolds slowly and with determination, with all elements—color, scraps of melody, pitches at times richly resonant and at other times static, and even volume—guided by a supremely confident hand. Much

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of Kancheli’s music is marked by mourning or loss and though Midday Prayers occasionally evokes a sense of tragedy, it is just as often sensual or religious and even witty. Ideas come and go on their own terms, yet are provided with enough tonal and rhythmic references to make us feel tethered. If you open your ears to Kancheli’s timeless approach, his breathtaking score will reward you with sweeping swaths of sound and deliver an experience unlike that of anyone else.

Felix Mendelssohn Bartholdy (1809-1847): Symphony No. 2 in B-flat, Op. 52 “Lobgesang”

Instrumentation: Scored for two sopranos, tenor, chorus, pairs of flutes, oboes, clarinets, bassoons, and trumpets, four horns, three trombones, timpani, organ, and strings Composed: 1840 Duration: 60 minutes With the trombone’s magisterial opening chorale, the Sinfonia to Jakob Ludwig Felix Mendelssohn Bartholdy’s Lobgesang, or Hymn of Praise, gets underway. The chorale-style introduction, which Mendelssohn sets as a call and response between the trombones and the rest of the orchestra, serves as the anchor for this majestic, hour-long composition, which, like Beethoven’s Ninth, to which it has often been compared, incorporates orchestra, chorus, and vocal soloists. Unlike Beethoven’s Ninth, however, the texts of the Lobgesang are religious by nature and Mendelssohn does not attempt to mold his composition into a four-movement symphonic scheme. Rather, the Berlin-born composer created a unique blend of symphony (the three movements found at the very start) and quasi-religious choral work (ten movements for chorus and/or vocal soloists and orchestra), all in the name of human ingenuity!

Mendelssohn’s unprecedented hybrid was composed in the early months of 1840, as part of a Leipzig festival celebrated to honor Johannes Gutenberg’s invention of movable type 400 years earlier. While many German cities celebrated the occasion, Leipzig was a perfect fit, given its role as the European epicenter of the book trade. But as biographer Larry Todd has suggested, the festival didn’t simply honor Gutenberg’s invention; “the Gutenberg Bible was championed as

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the lamp that disseminated enlightenment, the means by which German realms had progressed from ignorant superstition to enlightened wisdom.”

Mendelssohn, it would seem, was the perfect composer to craft the music for such an event in such a city. He was, after all, among the greatest living composers and, as conductor of Leipzig’s Gewandhaus Orchestra, had molded the ensemble into one of Europe’s finest. As a prolific composer of chamber music, songs, orchestral music, concertos, and oratorio, Mendelssohn also possessed—in abundance—all the tools necessary to bring all these aspects into play in celebration of Gutenberg’s miraculous gift to mankind. Indeed, even before the chorus enters for the first time (“All men”), the Sinfonia’s melodic contours, orchestration, counterpoint and pacing make it abundantly clear that we are in the hands of a master.

The vocal movements that follow the three-movement Sinfonia at the start of this musical spectacle, include Psalms and texts based on Isaiah and Romans, thereby imbuing the larger work with a quasi-sacred quality.

Images range from praising the Lord with lyre and song to awakening from intellectual and spiritual darkness. There is no “storyline” per se, yet there is a clear movement from dark to light; indeed, the central movement, “The sorrows of death had closed all around me" (No. 6), presents Mendelssohn in his darkest and most dissonant vein. The composer’s sublime vocal writing incorporates Baroque-inspired recitative, operatic aria, and the oratorio style that Mendelssohn had so brilliantly demonstrated in his St. Paul Oratorio of 1836 and would again exhibit in his Elijah seven years hence.

had to subsequently assign it an opus number and attempt to place it within the composer’s oeuvre in some logical way. Two years after the Lobgesang, Mendelssohn published his Symphony No. 3, “Scottish,” but at the time of his death, he had never published a Symphony No. 2, despite the earlier completion of what was known as the “Italian” Symphony. Some historians believe Mendelssohn had planned to revisit that earlier work before its publication but as that never happened, the “Italian” was published posthumously as Symphony No. 4 and the Lobgesang, in turn, ascribed as Symphony No. 2. There is, however, no indication that Mendelssohn ever regarded the Lobgesang primarily as a symphonic work and in the most recent German cataloging of his works, the Lobgesang was indeed listed among the composer’s sacred vocal works.

Perhaps Mendelssohn aspired to “unattainable comprehensiveness,” to again quote Larry Todd.

Certainly, hearing and performing this work today, the natural beauty and unsurpassed craftsmanship of Mendelssohn’s music-making leave us breathless.

Whether or not Mendelssohn believed he was reaching for the stars, in the end, we are the beneficiaries of his thrilling quest for musical universality. © Marc Moskovitz marcmoskovitz.org

Given the unusual scope of the work, Mendelssohn’s critics did not know what to make of his symphonicchoral amalgamation. One writer found the result an ill-conceived imitation of the Ninth, another deemed it an “unhappy conception,” and yet another simply dismissed it as “unoriginal.” This last poke in Mendelssohn’s musical eye was by none other than Richard Wagner, who took offense publicly to Mendelssohn’s inescapable Jewish roots (a story for another time). Nor did posterity quite know what to do with this composition. Because the composer died before the work was published, editors

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Mendelssohn Symphony No. 2 "Lobgesang" Original Text and English Translation

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1. Alles was Odem hat Alles was Odem hat, lobe den Herrn!

Halleluja, lobe den Herrn!

Lobt den Herrn mit Saitenspiel, lobt ihn mit eurem Liede.

Und alles Fleisch lobe seinen heiligen Namen.

Alles was Odem hat, lobe den Herrn!

1. All men, all things Let everything that has breath praise the Lord!

Halleluja, praise the Lord!

Praise the Lord with stringed instruments, praise Him with your songs.

And let all flesh praise His Holy Name.

Let everything that has breath praise the Lord!

2. Lobe den Herrn Lobe den Herrn, meine Seele, und was in mir ist, seinen heiligen Namen!

Lobe den Herrn, meine Seele, und vergiß es nicht, was er dir Gutes getan!

2. Praise thou the Lord Praise the Lord, O my soul, and all that is within me, praise His Holy Name!

Praise the Lord, O my soul, and forget not all His benefits!

3. Saget es Saget es, die ihr erlöst seid durch den Herrn, die er aus der Not errettet hat.

Aus schwerer Trübsal, aus Schmach und Banden, die ihr gefangen im Dunkel waret.

Alle, die er erlöst hat aus der Not. Saget es! Danket ihm, und rühmet seine Güte!

Er zählet unsre Tränen in der Zeit der Not. Er tröstet die Betrübten mit seinem Wort.

Saget es! Danket ihm, und rühmet seine Güte!

3. Sing ye praise Tell it out, that you are redeemed through the Lord, that He has saved you from your distress.

Out of harsh sorrow, out of shame and slavery, which had snared you in darkness.

Everything, which He has redeemed from distress.

Tell it out! Thank Him, and praise His goodness!

He counts our sorrows in the time of need.

He comforts the sorrowful with His Word.

Tell it out! Thank Him, and praise His goodness!

4. Er zählet unsre Tränen Sagt es, die ihr erlöset seid, von dem Herrn aus aller Trübsal.

Er zählet unsre Tränen.

Sagt es, die ihr erlöset seid, von dem Herrn aus aller Trübsal.

Er zählet unsre Tränen in der Zeit der Not.

4. All ye that cried unto the Lord Declare that you are redeemed, by the Lord from all your troubles.

He counts our sorrows.

Declare that you are redeemed, by the Lord from all your troubles.

He counts our tears in the time of need.

5. Ich harrete des Herrn Ich harrete des Herrn, und er neigte sich zu mir und hörte mein Fleh’n.

Wohl dem, der seine Hoffnung setzt auf dem Herrn!

Wohl dem, der seine Hoffnung setzt auf ihn!

5. I waited for the Lord I waited for the Lord, and He inclined unto me, and heard my voice.

Blessed are they whose hope is in the Lord!

Blessed are they whose hope is in Him!

6. Stricke des Todes Stricke des Todes hatten uns umfangen, und Angst der Hölle hatte uns getroffen, wir wandelten in Finsternis.

Er aber spricht: Wache auf, der du schläfst, stehe auf von den Toten, ich will dich erleuchten!

Wir riefen in die Finsternis: Hüter, ist die Nacht bald hin?

Der Hüter aber sprach:

6. The sorrows of death The sorrows of death had overtaken us, and the fear of Hell had found us, we wandered in darkness.

But He said: Awake, you who sleep, arise from the dead, I will enlighten you.

We called in the darkness: Watchman, what of the night?

But the watchman said:

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Wenn der Morgen kommt, so wird er doch Nacht sein, wenn ihr schon fraget, so werdet ihr doch… wieder kommen und wieder fragen: Hüter, ist die Nacht bald hin?

Die Nacht is vergangen!

Morning comes, and also the night, if you will inquire, so you will inquire… come back and inquire again: Watchman, what of the night?

The night is past!

7. Die Nacht ist vergangen Die Nacht ist vergangen, der Tag aber herbeigekommen.

So laßt uns ablegen die Werke der Finsternis, und anlegen die Waffen des Lichts und ergreifen die Waffen des Lichts.

7. The night is departing The night is far gone, day is at hand.

Let us cast off the works of darkness, and put on the armor of light.

8. Nun danket alle Gott Nun danket alle Gott, mit Herzen, Mund und Händen.

Der sich in aller Not will gnädig zu uns wenden, der so viel Gutes tut; von Kindesbeinen an, uns hielt in seiner Hut, und allen wohl getan.

Lob, Ehr’ und Preis sie Gott, dem Vater und dem Sohne.

Und seinem heil’gen Geist im höchsten Himmelsthrone.

Lob dem dreiein’gen Geist, der Nacht und Dunkel schied von Licht und Morgenroth. Ihm danket unser Lied.

9. Drum sing ich mit meinem Liede Drum sing’ ich mit meinem Liede ewig, dein Lob, du treuer Gott.

Und danke dir für alles Gute, das du an mir getan!

Und wandel ich in Nacht und tiefem Dunkel und die Feinde umher stellen mir nach; so rufe ich an den Namen des Herrn, und er errettet mich nach seinen Güte.

Drum sing’ ich mit meinem Liede ewig, dein Lob, du treuer Gott!

Und wandel ich in Nacht, so ruf’ ich deinen Namen an, ewig, du treuer Gott!

10. Ihr Völker, bringet her dem Herrn Ehre und Macht Ihr Völker! Bringet her dem Herrn Ehre und Macht!

Ihr Könige! Bringet her dem Herrn Ehre und Macht!

Der himmel bringe her dem Herrn Ehre und Macht!

Die Erde bringe her dem Herrn Ehre und Macht!

Alles danke dem Herrn!Danket dem Herrn und rühmt seinen Namen Und preiset seine Herrlichkeit!

Alles was Odem hat, lobe den Herrn!

Halleluja, lobe den Herrn!

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8. Let all men praise the Lord Now thank we all our God, with hearts, mind and hands.

He turns mercifully to us in all our needs.

He is so good to us; keeps us in His protection, from our childhood on, and does all things for us.

Praise, honour and glory be to God, the Father and the Son. And to His Holy Spirit on most high heaven's throne.

Praise to the triune Spirit, Who parts night and darkness from light and dawn.

Our song in thanks to Him. 9. My song shall be always of thy mercy So I will ever sing my song to your praise, O very God. And thank you for all the good things which you have done for me!

And though I wander in the night and deep darkness, and my enemies gather around me; so I call upon the Name of the Lord, and He saves me of His goodness.

So I will ever sing my song to your praise, O very God. Ambling in the night, I call on Your Name, eternal, true God! 10. Ye nations, offer to the Lord O ye people! Bring unto the Lord power and might!

O ye kings! Bring unto the Lord power and might!!

Let the heavens bring unto the Lord power and might!

Let the earth bring unto the Lord power and might!

Let everything thank the Lord! Thank the Lord and bless His Name and praise His Majesty!

Let everything that has breath praise the Lord!

Halleluja, praise the Lord!

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Stories above all..

in the heart of the Short North Arts District

Hilton Columbus Downtown is the largest hotel in Ohio featuring 1,000 rooms across two towers. Our award-winning property offers a total of six food & beverage outlets, including signature live-fire restaurant FYR Short North and Stories on High, a rooftop lounge sitting 28 stories over High Street. Creating a welcoming place to connect and share your stories is at the heart of everything we do, and you are the focus of our generous and Midwest hospitality.

402 N. High Street | Columbus, OH 43215 | www.hiltoncolumbusdowntown.com | @hiltoncolumbus Hilton Columbus Downtown is a proud supporter of ProMusica Chamber Orchestra!

Photo Credit: L. Belsky

March Guest Artist

Ilya Shterenberg Principal Clarinetist of ProMusica Chamber Orchestra and the San Antonio Philharmonic, Ilya Shterenberg balances a busy career as an orchestral musician, chamber music performer, and soloist.

Hailed by the press: “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 as a soloist with both orchestras of which he is a member, performing works by Mozart, Weber, Rossini, Debussy, and Strauss.

Ilya has been featured as Principal Clarinetist with Baltimore, Cincinnati, and Seattle Symphonies, the Florida Orchestra, as well as Houston Grand Opera, 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 a chamber musician, festival performer, and educator.

He is a member of the Olmos Ensemble, San Antonio’s preeminent chamber music group. 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, the city of his birth. After his immigration to the United States in 1989, he received an Artist Certificate from the Meadows School of the Arts at Southern Methodist University, after which he further studied 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 a recitalist and chamber music artist with Cactus Pear Music Festival and the North Shore Chamber Music Festival.

Ilya is a Buffet Group USA performing artist.

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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 Michael Jones & Jody Croley Jones Chair Rebecca Willie, assistant concertmaster The Kathryn D. Sullivan Chair Jennifer Ross, principal second* The Brachman Smith Family Chair **Amy Cave The Randy & Marilyn Miller Chair Eric Kline The Jim & Ida Copenhaver Ginter Chair Heather Kufchak The Deborah Raita Chair Solomon Liang The Laurie & Thomas W. Hill Chair William Manley The Fran Luckoff Chair Victoria Moreira The Dyann & E. Joel Wesp Chair Koko Watanabe The Sallie J. Sherman Chair VIOLAS Elias Goldstein, principal The Amy Thompson & Stephen Fechtor Chair **Stephen Goist* The Keith F. and Katherine B. Dufrane Trust Chair Mary Harris The Margaret & Jerome Cunningham Chair Michael Isaac Strauss The Anne Powell Riley Chair VIOLONCELLOS Marc Moskovitz, principal The Barbara Trueman Chair **Joel Becktell The Donna K. Laidlaw Chair Nat Chaitkin The William K. Laidlaw Trust Chair Cora Kuyvenhoven T he Bob & Mary Frances Restrepo Chair

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BASSES John Pellegrino, principal* The John F. Brownley Chair Boris Astafiev+ FLUTES Nadine Hur, principal The Dana Navin Schultz Chair Anthony Trionfo The Miriam & Bernard Yenkin Chair OBOES Donna Conaty, principal The Lee Shackelford Chair Jessica Smithorn The Artie & Alisa Isaac Chair CLARINETS Ilya Shterenberg, principal T he Beth Grimes-Flood & Tom Flood Chair Jennifer Magistrelli The Jack & Betsy Farrar Chair BASSOONS Ellen Connors, principal The ML Chair Rachael Young The Carolyn Merry & Bob Redfield Chair HORNS Stephanie Blaha, principal The Todd S. Swatsler Chair Matthew Oliphant+ The Burkey Family Chair TRUMPETS Andrew Jeng+ co-principal Justin Kohan+ co-principal The Susan L. Quintenz Chair Timothy Leasure TIMPANI & PERCUSSION Renee Keller, principal The Susan C. Johnson 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 Sarah Lee bassoon Rachel Charbel violin Sophie Pariot violin Joseph Skerik viola James Kang viola Matthew Zory bass ORCHESTRA MANAGER Suzanne Jennison ** Begins the alphabetical listing of string players who participate in a system of rotated seating. *On leave for the 2024-25 season +One year appointment The Musicians of the ProMusica Chamber Orchestra are members of, and represented by, the Central Ohio Federation of Musicians, Local 103 of the American Federation of Musicians.

Death and the Maiden Ilya Shterenberg, clarinet Vadim Gluzman, violin & leader Southern Theatre // Saturday, March 1 // 7:00 PM Southern Theatre // Sunday, March 2 // 7:00 PM SCHNITTKE Suite in the Old Style (arr. Spivakov)

I. Pastoral II. Ballet III. Minuet IV. Fugue V. Pantomime

MOZART Clarinet Concerto in A Major, K. 622

I. Allegro II. Adagio III. Rondo – Allegro

Ilya Shterenberg, clarinet

Intermission

Intermission lasts 15 minutes SCHUBERT Death and the Maiden (arr. for string orchestra) (arr. Mahler)

I. Allegro II. Andante con moto III. Scherzo IV. Presto Stay for Coda: Post-Concert Conversation. Meet Ilya Shterenberg and Vadim Gluzman and learn more about tonight’s program.

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March About the Music Alfred Schnittke (1934-1998): Suite in the Old Style (arr. Spivakov)

Instrumentation: Scored for pairs of oboes and horns, strings, and harpsichord Composed: 1972, arranged in 1987 Duration: 15 minutes There is little indication within the score of Alfred Schnittke’s Suite in the Old Style to suggest it sprang from the pen of one of the world’s most intensely progressive composers.

There are various reasons for this, including—but not limited to—Schnittke’s varied search for style. Whether or not he ultimately adhered to his early words, “The goal of my life is to unify serious music and light music, even if I break my neck doing so,” Schnittke’s style was often evolving, depending on the circumstances of the composition at hand. In this way, he was much like his Russian predecessor Dmitri Shostakovich, who was equally adept at composing effervescent humorous film scores or symphonies that proved as violent and progressive as anything of their day.

Though born in the Volga-German Republic of Russia, Schnittke came of age musically in Vienna, where he found himself walking amidst the musical ghosts and came to feel he was a link in the chain of music’s past and future. Back in Russia, his studies continued, and he was subsequently appointed to the Moscow Conservatory's composition faculty. Soon enough, however, Schnittke and his scores were viewed as suspect by the Soviet regime, again like Shostakovich, and by 1980 he was forbidden to travel beyond the country’s borders. He managed to leave the USSR for Hamburg in 1990, but he was doomed by ill health (though declared clinically dead on more than one occasion, he managed to recover and continue composing).

He died in 1998, at 63, and was buried with state honors in Moscow, near other prominent Russian composers, including Shostakovich.

Schnittke’s Suite in the Old Style was composed in 1972 for violin and piano or harpsichord and arranged in 1987 for chamber orchestra by Russian violinist Vladamir Spivakov 30

for his Moscow Virtuosi. From the start of the Pastoral, we might as well be listening to the work of an 18th-century composer, with its lilting oboe and violin melodies, rustic color, and effortless counterpoint. It is only with the occasional wink-wink that we are treated to Schnittkeesque passages of humor, snapping us back into our century. Such moments can be heard in the subtle, catchy cross-rhythms toward the end of the charming Minuet and the ensuing Fugue and in the humorous orchestration and inconclusive concluding bars of the otherwise nostalgic Pantomime.

Wolfgang Amadeus Mozart (1756-1791): Concerto for Clarinet in A Major, K. 622

Instrumentation: Scored for solo clarinet, pairs of flutes, oboes, horns, and strings Composed: 1791 Duration: 28 minutes The final year of Mozart’s meteoric life is among the most interesting and heartbreaking periods imaginable, at least from the vantage point of a modern-day perspective. On the one hand, the thirty-five-year-old proved miraculously productive, dispatching some of his most astounding works, including two operas, The Magic Flute and La Clemenza di Tito, his final piano concerto, the E-flat string quintet, and much of the Requiem. The financial struggles that had plagued him a year or so earlier appear to have been somewhat alleviated, at least partially as a consequence of his recent operatic successes. Then, while in Prague in September of 1791, Mozart fell ill. It proved the beginning of the end.

Somehow Mozart managed to dispatch a concerto for clarinet in the little time remaining to him, though much of that musical journey remains a mystery. We know that in 1773, two brothers, Anton and Johann Stadler, clarinetists both, appeared at Vienna’s Kärntnertortheater, marking their first known public performance. Thereafter, they vied for various jobs in the Austrian capital, where, like Mozart, they always hoped to serve the court. Both were finally invited to join the imperial court orchestra in 1782, and it was around this time that Mozart, who had moved to Vienna not long before, likely first encountered them.

Though Anton appears to have been a master of “a great many wind instruments,” it was his clarinet playing that drew Mozart to him. By 1784, Mozart had composed a work expressly for Stadler’s use, the Gran Partita, which

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featured writing for both the clarinet and the basset horn, a member of the clarinet family whose extended keys allowed for a deeper register. Mozart was equally taken by the instrument and Stadler’s mastery of it, so much so that between 1783 and 1785, he composed thirteen different works incorporating the basset horn. As fellow masons, Mozart grew quite fond of the clarinetist and his playing, despite the latter being both irresponsible and a thief; among other facts, Stadler falsely claimed credit for the invention of the basset horn. Still, Mozart managed to see past, or outright ignore, Stadler’s shortcomings, and in the end, their partnership left the world with some of its most sublime music.

Mozart’s manuscript to the Clarinet Concerto has not survived—Stadler claimed it was stolen from him, though Mozart’s widow wrote to a publisher that Stadler had pawned it. When it was finally published in 1803, it had been rescored for clarinet in A, which was the far more common instrument (indeed, the basset horn fell out of use with Stadler’s death and no instruments from the time have survived). In those cases where the basset horn’s register was too low for the clarinet, passages were transcribed up the octave. It is believed that Stadler played the work’s premiere in Vienna in October of 1791. By November, Mozart was bedridden, in pain, suffering from swelling and vomiting. Though he attempted to complete his latest undertaking, the Requiem, he died on December 5th, before the work could be finished. The Clarinet Concerto, then, Mozart’s last completed work, proved his swan song.

The Clarinet Concerto is in the standard three movements, as was typical of Mozart’s pen. While unusual is the fact that there is no cadenza in either the first or last movement, the work is imbued with Mozart’s unsurpassed late-life beauty and grace and the exquisite balance he achieved between the soloist and the orchestra has never been surpassed.

Franz Schubert (1797-1828): "Death and the Maiden" (arr. Mahler) for String Orchestra Instrumentation: Scored for string orchestra Composed: 1824, arranged in 1896 Duration: 45 minutes

Despite living but thirty-one years, Franz Schubert’s miraculous output contains over 1500 compositions, including some 40 liturgical works, 20 stage works (opera,

incidental music), symphonies, overtures, and chamber music of all types, including more than 20 string quartets. Then there is his piano music and songs, which comprise the largest bulk of his musical portfolio, numbering well over 600 songs and nearly that much piano music. And what is arguably more miraculous than the sheer numbers is the quality of what he left behind. No composer ever bettered Schubert in the art of the Lied (song), while his entire oeuvre remains as vibrant and powerful as it did when the music first flowed from his pen.

While an intense lyricism permeates everything Schubert wrote, his penchant for song composition occasionally influenced larger settings. Such is the case with the beloved D minor String Quartet, wherein Schubert looked to his earlier song, “Death and the Maiden,” as the basis for a set of variations.

The dark nature of German poet Matthias Claudius’ text, which tells the brief story of a young Maiden being approached by Death, was one of many macabre themes that resonated so strongly within the 19th-century European mind. Indeed, Schubert set many such poems, not the least of which includes his blockbuster, the Erlkönig. Such poetry certainly resonated particularly deeply with Schubert, who was also caught up in his own life-and-death struggle.

During the period he was writing the D minor String Quartet (1824), he succumbed to syphilis and soon came to realize he was dying.

To a friend, the unhappy composer wrote: “Think of a man whose health can never be restored, and who from sheer despair makes matters worse instead of better. Think, I say, of a man whose brightest hopes have come to nothing, to whom love and friendship are but torture, and whose enthusiasm for the beautiful is fast vanishing; and ask yourself if such a man is not truly unhappy.”

This, then, might be regarded as the overarching theme of the D minor Quartet, for although the song itself serves as the theme for Schubert’s extraordinary variations in the Andante, the emotional breadth of which far outpaces Claudius’ original poem or even Schubert’s subsequent song, the nature of death itself imbues the entire work, from the score’s violent

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unison opening notes to the daemonic Scherzo (which has been described as a dance of the daemon fiddler), to the tarantella—an Italian dance once believed to cure the madness brought on by the bite of a tarantula spider— found at the close.

No wonder, then, that conductor and composer Gustav Mahler (1860-1911) found Schubert’s quartet so compelling, for few composers have ever had a greater preoccupation with death. Indeed, Mahler feared writing a Ninth Symphony, knowing that number had signaled the end for a number of his symphonic predecessors, Schubert among them! Matters weren’t helped by the death of Mahler’s seven-year-old daughter of scarlet fever and diphtheria, in 1907, for shortly thereafter he was diagnosed with a defective heart, a malady his wife regarded as a death sentence. Indeed, Mahler would be dead less than four years later.

score must have seemed nigh impossible. And anyway, various composers had long been setting Schubert’s dramatic songs for orchestra, so in 1896 the composer began drafting a string orchestra version of Schubert’s quartet. For the most part, Mahler did little tinkering with Schubert’s score, and simply intended for the earlier composer’s music to be played by larger sections.

The addition of double bass, however, considerably deepened the work’s lower-end, a value-added punch that contributes significantly to the overall effect.

Schubert’s original needed nothing, for like all of the composer’s scores, it possesses a depth and power all its own. But Mahler’s arrangement adds incontrovertible drama to Schubert’s music, confirming the adage, more is indeed more! © Marc Moskovitz marcmoskovitz.org

For Mahler, who conceived of music on a larger-thanlife scale, expecting only four players to dispatch the overwhelming power inherent in Schubert’s quartet

About the Program Notes Author

Marc Moskovitz In addition to his work as principal cellist of ProMusica Chamber Orchestra, Marc Moskovitz collaborates frequently with various other ensembles, among them The North Carolina Symphony. A former Associate Professor of The University of Toledo, Marc has been heard at the Library of Congress and the International Piatti Festival (Bergamo, Italy), and has performed with the Boston Pops and the Handel and Haydn Society of Boston, with whom he has also recorded and toured.

His recordings include music of cello virtuosi David Popper and Alfredo Piatti, available on the VAI label.

As an author, Marc has contributed to The New Grove Dictionary of Music and Musicians, written liner notes for the Naxos and Melba labels, and his program notes have appeared in English, German, Spanish and Chinese.

Two of his books, including Measure: In Pursuit of Musical Time (Boydell & Brewer), earned the CHOICE Outstanding Academic Title Award. His novel, The Eyes of Bach, has just been published (Friesen Press).

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Photo: Maria Jarzyna

May Guest Artist

Aaron Diehl Pianist Aaron Diehl has quietly re-defined the lines between jazz and classical, and built a global career around his nuanced, understated approach to music-making.

Praised for his “melodic precision, harmonic erudition, and elegant restraint” (The New York Times), Diehl has performed with musical giants such as Wynton Marsalis, Cécile McLorin Salvant, Tyshawn Sorey, and Philip Glass, and has been a soloist with the New York Philharmonic, Los Angeles Philharmonic, San Francisco Symphony, and the Cleveland Orchestra, working with conductors like Yannick Nézet-Séguin, Marin Alsop, and Alan Gilbert. In 2023, Diehl was named Artistic Director of 92NY’s Jazz in July Festival, succeeding the legendary Bill Charlap.

With an expansive, orchestral, lyrical approach to the piano that channels predecessors like Ahmad Jamal, Erroll Garner, Art Tatum and Jelly Roll Morton, Diehl has headlined the Monterey, Detroit, and Newport Jazz Festivals, and had residencies at Jazz at Lincoln Center, the Village Vanguard, SF Jazz, and many more. He counts among his mentors towering figures such as John Lewis, Kenny Barron, Fred Hersch, Marcus Roberts, and Eric Reed.

2024-25 season highlights include two world premieres with The Knights at Carnegie Hall: Suite from Book of Ways by Keith Jarrett and Michael Schachter’s rhapsody honoring the legacy of George Gershwin, which will also be performed with co-commissioner ProMusica Chamber Orchestra. Diehl tours with the Tyshawn Sorey Trio and Sandbox Percussion and with his own Aaron Diehl Trio. He will also appear with the Baltimore and Nashville Symphonies, and the Frankfurt Radio Big Band.

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In 2023, Diehl released his GRAMMY-nominated recording of Mary Lou Williams’s Zodiac Suite with The Knights and Eric Jacobsen. As the first-ever studio recording of Zodiac Suite, it has been touted as “a joyous, enchanting creation… a triumph” (The Guardian).

The album is Diehl’s fourth on Mack Avenue Records.

Diehl was born in Columbus, Ohio, where he grew up listening to his grandfather, pianist and trombonist Arthur Baskerville. In 2002, at Jazz at Lincoln Center’s Essentially Ellington competition, where he placed as a finalist, Diehl attracted the attention of Wynton Marsalis, who invited him to join his septet for a European tour. After studying at Julliard, Diehl was awarded the 2011 American Pianists Association’s Cole Porter Fellowship. Diehl, who holds commercial single and multi-engine pilot certifications, inherited a lifelong love of flying from his father who was himself an avid pilot. Diehl has been a Steinway Artist since 2016.

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Photo: Deborah J Karson

May Featured Composer

Michael Schachter Michael Schachter is a composer, writer, pianist, and scholar. His compositions have been performed by leading orchestras, choirs, chamber ensembles, and soloists around the country, in venues ranging from the Hollywood Bowl to the Smithsonian to the Minnesota Centennial Showboat.

Current projects include a new concerto for pianist Aaron Diehl honoring the centennial of Gershwin’s Rhapsody in Blue, premiering at Carnegie Hall (October 2024), as well as an album-length work for Grammy-winning choir Conspirare to inaugurate their new performance, recording, and community center in Austin, TX.

premiered after pandemic delays in April 2022 and was profiled on PBS (“Craft in America”), as well as featured in the final concert of the 2023 Big Ears Festival.

As a scholar, Michael recently completed a three-year term as Junior Fellow in the Harvard University Society of Fellows. He lives with his wife and two young children in Burlington, VT.

His first music-theatrical work “The Black Clown” (composer, co-librettist) premiered to sold-out runs at the American Repertory Theater and Lincoln Center, where it was a NYT Critic’s Pick. He is currently working with Seaview, Play Hooky, and Creative Partners Productions in developing future productions for Broadway and touring. His concerto for Grammynominated violinist Tessa Lark, Cycle of Life, finally

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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 Michael Jones & Jody Croley Jones Chair Rebecca Willie, assistant concertmaster The Kathryn D. Sullivan Chair Jennifer Ross, principal second* The Brachman Smith Family Chair **Amy Cave The Randy & Marilyn Miller Chair Eric Kline The Jim & Ida Copenhaver Ginter Chair Heather Kufchak The Deborah Raita Chair Solomon Liang The Laurie & Thomas W. Hill Chair William Manley The Fran Luckoff Chair Victoria Moreira The Dyann & E. Joel Wesp Chair Koko Watanabe The Sallie J. Sherman Chair VIOLAS Elias Goldstein, principal The Amy Thompson & Stephen Fechtor Chair **Stephen Goist* The Keith F. and Katherine B. Dufrane Trust Chair Mary Harris The Margaret & Jerome Cunningham Chair Michael Isaac Strauss The Anne Powell Riley Chair VIOLONCELLOS Marc Moskovitz, principal The Barbara Trueman Chair **Joel Becktell The Donna K. Laidlaw Chair Nat Chaitkin The William K. Laidlaw Trust Chair Cora Kuyvenhoven T he Bob & Mary Frances Restrepo Chair BASSES John Pellegrino, principal* The John F. Brownley Chair Boris Astafiev+

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FLUTES Nadine Hur, principal The Dana Navin Schultz Chair Anthony Trionfo The Miriam & Bernard Yenkin Chair OBOES Donna Conaty, principal The Lee Shackelford Chair Jessica Smithorn The Artie & Alisa Isaac Chair CLARINETS Ilya Shterenberg, principal T he Beth Grimes-Flood & Tom Flood Chair Jennifer Magistrelli The Jack & Betsy Farrar Chair BASSOONS Ellen Connors, principal The ML Chair Rachael Young The Carolyn Merry & Bob Redfield Chair HORNS Stephanie Blaha, principal The Todd S. Swatsler Chair Matthew Oliphant+ The Burkey Family Chair TRUMPETS Andrew Jeng+ co-principal Justin Kohan+ co-principal The Susan L. Quintenz Chair Timothy Leasure TIMPANI & PERCUSSION Renee Keller, principal The Susan C. Johnson Chair Rajesh Prasad The Bob Redfield & Mary Yerina Chair HARP Jeanne Norton, principal The Sustaining Board Chair HARPSICHORD Aya Hamada, principal The ProMusica Board Chair in memory of Ida Copenhaver

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ASSISTING MUSICIANS Immanuel Davis flute Michael Cox alto saxophone Stephen Laifer horn Brad Granville horn David Roode trombone Michael Charbel trombone Sterling Tanner trombone Ryan Kilgore percussion Scott Cuellar piano Julian Maddox violin Carlos Chacon violin David Rose viola Yael Senamaud viola Pei-An Chao cello ORCHESTRA MANAGER Suzanne Jennison ** Begins the alphabetical listing of string players who participate in a system of rotated seating. *On leave for the 2024-25 season +One year appointment The Musicians of the ProMusica Chamber Orchestra are members of, and represented by, the Central Ohio Federation of Musicians, Local 103 of the American Federation of Musicians.

Aaron Diehl & Rhapsody Aaron Diehl, piano Michael Schachter, composer David Danzmayr, conductor Southern Theatre // Saturday, May 10 // 7:00 PM Southern Theatre // Sunday, May 11 // 7:00 PM

STILL Darker America

SCHACHTER

Being and Becoming, Rhapsody for Piano and Orchestra (Commission and Midwest Premiere)* Aaron Diehl, piano

Intermission

Intermission lasts 15 minutes BRAHMS Symphony No. 3 in F Major, Op. 90

I. Allegro con brio II. Andante III. Poco Allegretto IV. Allegro BRAHMS

Hungarian Dance No. 1

* Lead commissioning by ProtoStar Group and Carnegie Hall, co-commissioned by ProMusica Chamber Orchestra.

Supporting Sponsor:

Nakamichi Foundation

Support for Michael Schachter’s commission is made possible by Dr. Richard and Yvonne Heather Burry, and an anonymous donor.

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

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May About the Music William Grant Still (1895-1978): Darker America Instrumentation: Scored for pairs of flutes, oboes (plus English horn), clarinets and bassoons, horn, trumpet, trombone, piano, percussion, and strings Composed: 1924 Duration: 13 minutes

William Grant Still might rightly be considered one of the most “American” composers contemporary audiences have never heard of. This fact has nothing to do with Still’s ability, likeability, or output, for his music is accessible and honest and there is a lot of it—operas, symphonies, tone poems, songs, chamber music, and the like. The reason you may not have heard of Still is because he was Black and until rather recently, women and people of color faced tremendous difficulties attempting to break through the world of the dead white composer, or even the living white composer. Fortunately, that is now changing and audiences— ProMusica audiences among them—are experiencing the music of an unprecedented swath of composers that few of us knew existed just a few decades ago.

Still grew up in Mississippi and Arkansas, the son of a store owner who died when he was but three months old. His mother was a schoolteacher, and it was Still’s stepfather who nurtured the young man’s love of music. Though Still initially pursued a Bachelor of Science degree (his mother had designs on his becoming a doctor), he eventually followed his love of music to the Oberlin Conservatory, where he pursued composition, all the while assisting the janitor and doing other small jobs to cobble enough tuition money together.

Whiteman), while continuing to compose and arrange. His first real break came with his “Afro-American” Symphony No. 1; when it was debuted by the Rochester Philharmonic, it was the first time the work of a Black composer had been performed by a major American orchestra. Still went on to compose prodigiously, imbuing his scores with the African American experience, blues, jazz, and the classical techniques he had absorbed through the study of composition largely by way of white composers, among them Edgard Varèse, among the most progressive composers of his day. And yet, despite operatic successes, performances with the likes of the Los Angeles Philharmonic and soundtrack arrangements for major studio films (Pennies from Heaven, Stormy Weather), Still remained under the radar.

Still’s 13-minute single-movement Darker America is typical of his unique compositional approach; thus, it seems only fitting that we draw on his words for the music’s description: “ Darker America, as its title suggests, is representative of the American Negro. His serious side is presented and is intended to suggest the triumph of a people over their sorrows through fervent prayer. At the beginning, the theme of the American Negro is announced by the strings in unison. Following a short development of this, the English horn announces the sorrow theme which is followed immediately by the theme of hope, given to muted brass accompanied by strings and woodwind. The sorrow theme returns treated differently, indicative of more intense sorrow as contrasted to passive sorrow indicated at the initial appearance of the theme. Again hope appears and the people seem about to rise above their troubles. But sorrow triumphs. Then the prayer is heard (given to oboe); the prayer of numbed rather than anguished souls. Strongly contrasted moods follow, leading up to the triumph of the people near the end, at which point the three principal themes are combined.”

Following a stint in the navy, Still moved to Harlem, where he embraced the artists of the Harlem Renaissance, worked with blues musician W.C. Handy, and played in dance bands (including those of Artie Shaw and Paul

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FROM THE COMPOSER:

Michael Schachter (b. 1987): Being and Becoming, Rhapsody for Piano and Orchestra Instrumentation: Scored for pairs of flutes, oboes, clarinets (the second doubling on bass clarinet), bassoons, alto saxophone, two horns, trumpet, trombone, timpani, percussion, and strings Composed: 2024 Duration: 20 minutes

Here — Now — A century after the premiere of the Rhapsody in Blue, George Gershwin’s sensational “experiment in modern music” anchors United Airlines safety videos and orchestral pops concerts.

Yet, despite its senescence—as well as the discomfiting questions of appropriation rightly raised by contemporary critics—Gershwin’s Rhapsody stubbornly remains an object of my unconditional love and fascination. Its vigor, its earnestness, its clarity of expression, its imperviousness to cuts or rearrangements.

But also—as an evocation of place and time. 1920’s New York? Not so much as central Massachusetts in the midaughts: sitting at the piano in my teacher’s studio, then dancing like fools to old Bernstein recordings with her son, who became my best friend. There, some creative pilot light was lit inside me, the flames of which led (however windingly) to this piece, in this place, in this time.

For Gershwin—a first-generation Jewish immigrant, a high-school dropout hawking sheet music on the street, desperate to break into a snobbish cultural aristocracy all too eager to shut him out—the rhapsody was the thrum of the burgeoning metropolis, the Yiddishkeit of his family life meeting the virtuosic flourishes of Liszt and the song forms of Tin Pan Alley.

In my own rhapsody, I set out not to create a pastiche of Gershwin’s sound world, but rather to take the context of his rhapsodic project as impetus to reckon with the here and now. In my conversations with Aaron Diehl throughout this piece’s development, we alighted on

several points of cultural fascination that wove themselves into the fabric of its creation: • Human creativity funneled through the frenetic barrage of short-form social media “content” — in a way, a cultural pendulum-swing back to the varietyshow/vaudeville/short form silent films dominant in the early 20th century…

• The dissolution of time- and place-based locality in the digital age. We carry an instantly accessible history of the world’s recorded music in our pockets at all times…

• The profound, fleeting beauty of making unamplified music, live, in a space together – to delight in the vibrational resonance…

• And, in loving rebuke to Gershwin, who spoke of freeing the rhapsody from “cling[ing] to dance rhythms” — encouraging piano and orchestra to embrace the exact opposite, the ecstatic flow state that only arises through the deep embrace of rhythmic pocket.

Through these priorities and more, my piece came to life as a proper, old-school rhapsody, an extension of a through-line from Liszt, Bartok, and Gershwin to the Beatles, Queen, and Radiohead: a single-movement work, tuneful and vernacular, moving more by the hot thrill of impulse than the cool logic of austere design.

The title, Being and Becoming, refers not only to the sprawling, kaleidoscopic form of the rhapsody, but more broadly to the inescapable interplay between presence and transience. In a sense, each of us is a collective—a partnership of particles and spirit, held together in that dynamic combination of consistency and change that we call the self, experiencing an impulsive, episodic assortment of infinite present moments, until we eventually dissipate and return to the source.

We know little. But we do know that we are here, together, now. Being, and becoming.

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Johannes Brahms (1833-1897): Symphony No. 3 in F Major, Op. 90

Instrumentation: Scored for pairs of flutes, oboes, clarinets and bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, and strings Composed: 1883 Duration: 33 minutes Summers for Johannes Brahms often meant time away from Vienna, the city he had adopted as his home after visiting for the first time in 1862 (he was born and came of age in Hamburg, where his father was a professional double-bassist). The summer of 1883 was spent in the German town of Wiesbaden, a picturesque spa town on the Rhine River. Brahms’s lodgings that summer included an airy studio with a view to the river, which he described as luxurious “as if I were trying to imitate Wagner.” (In truth, given his penchant for luxury, Wagner would probably have preferred Wiesbaden’s Biebrich Palace, the ducal palace situated on the bank of the Rhine). The view Brahms enjoyed during much of that summer, as it turned out, played a significant role in the music he was crafting, his Symphony in F major.

The year 1883 was marked by several important births of which Brahms would have been ignorant: those of author Franz Kafka and composers Anton Webern and Edgar Varese, all three of whom would significantly reshape the world Brahms would leave behind toward the century’s close. Of one death, in February of that year, he was particularly aware: that of Richard Wagner. Brahms had had a long and complicated history with Wagner going back decades. But although Brahms’ musical principles were decidedly opposite to those of Wagner—Brahms held fast to Classical forms and structures while Wagner believed that by creating new schemes, he was personally forging the music of the future—Brahms recognized Wagner’s genius. He was personally involved with preparations for Wagner performances in Vienna and later was the proud possessor of the manuscript of Wagner’s opera Tannhäuser. Wagner, for his part, had less than flattering things to say about Brahms and later demanded to have his manuscript back! Regardless, upon hearing of Wagner’s death, Brahms, who was in the middle of leading singers in rehearsal, laid down his baton and announced, “Today we sing no more. A master has died.”

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That same year Brahms had become smitten by a twentysix-year-old contralto named Hermine Spies whom he had met that January in the town of Krefeld, where he had gone to perform some of his music. By this time, Brahms was a fifty-year-old, rotund cigar-smoking and alcoholimbibing musician whose recent compositions had made him famous. He was in great health and had never been married. Just how romantically he regarded Spies, “my songstress,” is impossible to know but certainly one of the reasons he opted for the town of Wiesbaden in the summer of 1883 was because his “Rhine-maiden” would be there too.

As is evident in the opening bars of the Third Symphony, Hermine was hardly the sole inspiration for Brahms’ latest opus. Following two majestic wind chords, the violins passionately decry a theme evoking Schumann’s Rhenish Symphony, an earlier work also composed on the banks of the Rhine. Brahms’ relationship to Schumann dated to the 1850’s, when Schumann had championed the younger composer, publicly regarding him as heir to Beethoven’s legacy. Schumann and his wife Clara would serve as mentors to Brahms. In return, Brahms would fall deeply in love with Clara.

All of which is to say, Brahms’ Op.90 is rich in cyphers.

Indeed, the first three bassline pitches—F-A-flat-F, which ascends up a third and then to the octave—are believed to be musical shorthand for Brahms’ musical motto: Frei aber froh, Free but happy. In truth, Brahms suffered romantically, though judging from the exalted character of his F major Symphony, he appears to have been in high spirits that summer. These three pitches, meanwhile, will come to dominate not simply the opening Allegro con brio but the other three movements also.

It had now been six years since his previous symphony. In the meantime, Brahms had composed his monumental Violin Concerto, a pair of orchestral overtures, and his Second Piano Concerto and the composer was at the height of his powers. While his First Symphony had caused him tremendous struggle, he had since learned to compose with “fluency and ease,” evident not simply in Third Symphony’s inspired, organic handling of material but by the fact that it was all but complete come October.

Indeed, Brahms played through parts of the symphony on the piano that month for Dvořák, who believed it surpassed Brahms’ earlier symphonies, if not in grandeur, then in beauty.

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As the musical world had come to expect, Brahms looked to a time-tested, classically minded framework. Structurally, three of the four movements—I, II, and IV—rely on sonata form, while the C minor Poco allegretto is cast as an easily identifiable ternary—A-B-A— form. The work as a whole breathes a lyrical freshness and is rarely freighted with typical Brahmsian weightiness. Examples are to be found in the light-hearted clarinet theme of the second movement, which Brahms marks espressivo semplice (expressive, simple) before passing it effortlessly along to other members of the orchestra, the waltz-like theme of the Poco allegretto and the fluid, easy theme of the finale, which again may well mirror the flow of the Rhine river, but a few steps away from Brahms’ Wiesbaden doorway.

Admittedly, the fourth movement contains some of the most powerful orchestral writing Brahms would ever create, yet the overall effect remains seemingly effortless.

Whether or not we regard the atmospheric writing towards the end as Brahms tipping his hat to Wagner, his late rival, there is no mistaking the Schumann-esque reprise of the opening. Brahms then allows his noble score to simply fade away. This was a daring end for a symphonic work, but it left no doubt about the symphonic confidence Brahms was experiencing during the halcyon summer of ‘83.

Johannes Brahms (1833-1897): Hungarian Dance No. 1 in G Minor, WoO.1

old pianist and would-be composer named Johannes Brahms. Before the pair could work together, Reményi, who was being pursued by German authorities, fled to the United States. He returned to Europe several years later, toured with Brahms, and ultimately led a highly successful concert career.

During their time together, Reményi introduced Brahms to the Csárdás, a traditional Hungarian folk dance in 2/4 or 4/4 meter that typically began slowly and gradually accelerated. The exotic warmth and buoyant spirit of these dances captivated the otherwise serious Brahms, so much so that he later composed twenty-one Hungarian Dances of his own, scored for piano four hands. Though some of the melodies Brahms created anew, most of his dances drew on actual Csárdás themes, such as the G minor dance heard tonight. The music’s golden glow and simmering Hungarian passion blossomed with Brahms’ arrangement for orchestra, though he must have been more than satisfied with his original piano versions of the dances (published in 1869 and 1880 respectively), for they proved among the most popular and financially rewarding works Brahms would ever compose. An aside: on YouTube, you can hear Brahms's own (high-pitched!) voice in an Edison recording the composer made, along with a piano performance of this very Hungarian Dance, though it will come as no surprise that the recording quality in 1889 left much to be desired. Play on, Herr Doktor Brahms!

Instrumentation: Scored for pairs of flutes, oboes, clarinets and bassoons, four horns, two trumpets, timpani, and strings Composed: 1868 Duration: 4 minutes

© Marc Moskovitz marcmoskovitz.org

Nineteenth-century Vienna was a true melting pot, the capital of a monarchy that stretched nearly 240,000 square miles, making it the second-largest geographical country on the continent (after the Russian Empire). On any given day, one might hear Czech, Croatian, Polish, Ruthenian, Romanian, Bosnian, Serbian, Slovak, Slovene, Italian, or Romani, not to mention Yiddish, spoken in Vienna’s streets. Among those speaking Hungarian was violinist Eduard Hoffmann, who came to the capital in 1842 to study music, though he was subsequently banished from the country for participating in the Hungarian Revolution of 1848. Having adopted the Hungarian name Ede Reményi, the violinist left for Germany, where he met a fifteen-year-

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Katherine McLin

Meet the Musicians

concertmaster, 25 years The Michael Jones & Jody Croley Jones Chair Current Residence: Phoenix, AZ

Amy Cave

Rebecca Willie

principal second, 7 years The Brachman Smith Family Chair Current Residence: Jackson, WY

Eric Kline

Heather Kufchak

violin, 10 years The Randy & Marilyn Miller Chair Current Residence: Cleveland, OH

violin, 13 years The Jim & Ida Copenhaver Ginter Chair Current Residence: Pickerington, OH

Solomon Liang

William Manley

violin, 6 years The Laurie & Thomas W. Hill Chair Current Residence: Columbus, OH

Jennifer Ross*

assistant concertmaster, 10 years The Kathryn D. Sullivan Chair Current Residence: Greensboro, NC

violin, 19 years The Fran Luckoff Chair Current Residence: Columbus, OH

violin, 14 years The Deborah Raita Chair Current Residence: Freeport, ME

Victoria Moreira

violin, 10 years The Dyann & E. Joel Wesp Chair Current Residence: Chicago, IL

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

Koko Watanabe

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violin, 7 years The Sallie J. Sherman Chair Current Residence: Columbus, OH

Stephen Goist*

Mary Harris

Michael Isaac Strauss

viola, 29 years The Margaret & Jerome Cunningham Chair Current Residence: Oxford, OH

viola, 10 years The Keith F. & Katherine B. Dufrane Trust Chair Current Residence: New York, NY

viola, 9 years The Anne Powell Riley Chair Current Residence: Oberlin, OH

Cora Kuyvenhoven

Nat Chaitkin

Joel Becktell

cello, 24 years The Bob & Mary Frances Restrepo Chair Current Residence: Columbus, OH

Boris Astafiev +

bass, 1st year Current Residence: Cincinnati, OH

Jessica Smithorn

oboe, 6 years The Artie & Alisa Isaac Chair Current Residence: Chattanooga, TN

cello, 17 years The William K. Laidlaw Trust Chair Current Residence: Cincinnati, OH

cello, 16 years The Donna K. Laidlaw Chair Current Residence: Albuquerque, NM

Nadine Hur

Anthony Trionfo

principal flute, 4 years The Dana Navin Schultz Chair Current Residence: St. Louis, MO

flute, 4 years The Miriam & Bernard Yenkin Chair Current Residence: New York, NY

Ilya Shterenberg

Jennifer Magistrelli

principal clarinet, 7 years clarinet, 13 years The Beth Grimes-Flood & Tom Flood Chair The Jack & Betsy Farrar Chair 2 0 2 4San - 2 5Antonio, SEASO Current Residence: TXN | promusicacolumbus.org Current Residence: Richfield, OH

Marc Moskovitz

principal cello, 30 years The Barbara Trueman Chair Current Residence: Durham, NC

John Pellegrino*

principal double bass, 13 years The John F. Brownley Chair Current Residence: Columbus, OH

Donna Conaty

principal oboe, 35 years The Lee Shackelford Chair Current Residence: Santa Cruz, CA

Ellen Connors

principal bassoon, 14 years The ML Chair Current Residence: St. Louis, MO

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Rachael Young

bassoon, 9 years The Carolyn Merry & Bob Redfield Chair Current Residence: Cincinnati, OH

Stephanie Blaha

principal horn, 7 years The Todd S. Swatsler Chair Current Residence: Wadsworth, OH

Justin Kohan +

co-principal trumpet, 1st year The Susan L. Quintenz Chair Current Residence: Pittsburgh, PA

Rajesh Prasad

percussion, 11 years The Bob Redfield & Mary Yerina Chair Current Residence: Raleigh, NC

Matthew Oliphant +

horn, 2 years The Burkey Family Chair Current Residence: Chicago, IL

Timothy Leasure

trumpet, 21 years Current Residence: Pickerington, OH

Jeanne Norton

principal harp, 45 years The Sustaining Board Chair Current Residence: Columbus, OH

Renee Keller

principal timpani and percussion, 11 years The Susan C. Johnson Chair Current Residence: Gahanna, OH

Aya Hamada

principal harpsichord/keyboard, 20 years The ProMusica Board Chair in memory of Ida Copenhaver Current Residence: New York, NY

+ one-year appointment * on leave for the 2024-25 season

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Andrew Jeng +

co-principal trumpet, 1st year The Susan L. Quintenz Chair Current Residence: Cincinnati, OH

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2023-2024 Annual Fund Contributors ProMusica Chamber Orchestra is grateful to the following donors who support our efforts to deliver a world-class and unique classical music experience. We invite you to join our circle of supporters online at promusicacolumbus.org, or by calling ProMusica’s Development Office at 614.464.0066 ext. 104.

MAESTROS $10,000 AND ABOVE Gifts from Individuals Deborah Anderson Lavea Brachman and Andrew O. Smith Margaret and Jerome Cunningham Jim Ginter Joan Herbers Susan C. Johnson Michael Jones and Jody Croley Jones Helen Liebman and Thomas Battenberg Kathryn Sullivan Todd Swatsler Amy Thompson and Stephen Fechtor Barbara Trueman Miriam and Bernie Yenkin Mary Yerina and Bob Redfield Anonymous Support from Corporations, Foundations & Public Agency Funds American Electric Power Bank of America Kenneth L. Coe and Jack Barrow Fund of The Columbus Foundation The COR Group of UBS Financial Services The Crane Family Foundation DGD Group, Inc. The Fox Foundation Greater Columbus Arts Council Ingram-White Castle Foundation Nationwide Ohio Arts Council PNC ProMusica Chamber Orchestra 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 John F. Brownley The Michael and Paige Crane Fund of The Columbus Foundation Keith Dufrane Nancy and Steve Falk Beth Grimes-Flood and Tom Flood Donna Laidlaw The Mary and Robert Lazarus Fund of The Columbus Foundation Elliott S. Luckoff The Fran Luckoff Family Fund of The Columbus Foundation Nancy Marzella The Quintenz Family Mary Frances and Bob Restrepo Anne Powell Riley Hugh Schultz Sallie J. Sherman Becky Wright SPECIAL GIFTS In Memory of Frances N. Lazarus Peggy Lazarus Support from Corporations & Foundations BakerHostetler E. Nakamichi Foundation Ice Miller LLP The Hattie and Robert Lazarus Fund of The Columbus Foundation Ologie

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Porter, Wright, Morris & Arthur LLP Vorys, Sater, Seymour and Pease LLP SYMPHONY $3,000 - $4,999 Gifts from Individuals Lauren Bonfield and Stephen Keyes Lynn Elliott Betsy and Jack Farrar Wendy and Bill Faust Sylvia Fergus Adam and Kate Ferguson Dr. Dara A. and Mark H. Gillis Laurie and Thomas Hill Artie and Alisa Isaac – Yellow Springs Community Foundation Drs. Bill Mitchell and Wayne Lawson Marilyn and Randy Miller Deborah Raita David R. Schooler Kara Trott and Bob Philips Jayne Wenner and Peter Costanza Dyann and Joel Wesp Anonymous Support from Corporations & Public Agency Funds Cardinal Health City of Columbus Recreation and Parks Department Huntington Yenkin-Majestic Paint SPECIAL GIFTS In Memory of Pamela Romeo Elliott James Elliott

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CONCERTO $2,000 -$2,999 Gifts from Individuals Jim and Traci Blair Catherine and John Brody Mary and Steve Burkey Trish and John Cadwallader Linda and Bill Habig Steven Hillyer Suzanne Karpus George F. Knight Susan and Barry Lubow Margaret A. Malone Caitlin Sherman and Vineeth Sukrithan Ann and Doug Teske Roger and Sue Whitaker

Adam Wagenbach and Kathleen Murphy Lillian Webb Robert F. Wing John and Sherry Young Anonymous

SPECIAL GIFTS In Honor of Katherine McLin Gary and Sara Gislason

In Memory of Allene N. Gilman The Allene N. Gilman Charitable Trust

Support from Foundations Henry W. & Martha L. Bruner Philanthropic Fund at the Buffalo Community Foundation

In Honor of Dr. Wayne Lawson and Dr. William Mitchell Cordelia Robinson

SPECIAL GIFTS In Honor of Nadine Hur Louise and Alan Zink

SONATA $500 - $999 Gifts from Individuals George and Vanessa Arnold Paul and Tere Beck Barbara and David Brandt Robert Byrd David and Susan Carr Patricia Cash Isaacson Cindy and John Deliman Lindsey and Kevin Dunleavy Cornelia Ferguson Bebe and John Finn Mabel Freeman Brian Fruchey Mark Gibson Patricia Hadler Robin and Peter Hersha Joshua and Brandy Hill Ann and James A. Jones Debby and Ira Kane Deborah and Douglas King Syd Lifshin Mary Pat Martin and Rick Livingston Warren and Dai-Wei Lo Jane McMaster Susan C. Meiling Christine and Kirk Merritt

OVERTURE $250 - $499 Gifts from Individuals Stephen Bigley and Rebecca Roeder Connie Bodiker Katherine Borst Jones Earl Busenburg Alan and Linda Carter Donna Cavell Todd Clark Dennis and Joyce Findley Robin and Larry Garvin Barbara Glover David and Patricia Gold David Guion Vincent and Gayle Herried Rose Hume and Jim Dunn Jeff Kipnis Douglas Klamfoth Charlie and Linda Kurtz Ekaterina Malkin Mark L. Miller Dan and Kathy Moore Elizabeth and Kulu Moyo Brad Myers and Steve Rowlands Robert Palmer and Susan Simms Lenore Schottenstein The Smajlovic Family Connie Smallwood

RHAPSODY $1,000 - $1,999 Gifts from Individuals Robert Allen and Diane Weaver Julia and Milt Baughman Sally and Roger Baughman Pamela and John Beeler Evelyn Behm Ellen Bowden Bob and Julie Connors Mary Jo Conte Mark and Mindy Corna Patt and Chuck DeRousie Matthew Fornshell Ann and Jack Fowble Sherri Geldin Jack and Joan George Katie and Jake Gibson David Hedgecoth Mark and Mary Howard The Josenhans Family Fund of The Columbus Foundation Benita Kahn Kurt and Gerti Lausecker Susan and Bill McDonough Diane McLin Gerald and Ann Newsom Julie and Bob Rutter William and Patricia Sadataki Stacie and Mark Sholl Sadie and Seyman Stern Pam Hussen and Patrick Vincent

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Support from Corporations Kegler, Brown, Hill + Ritter SPECIAL GIFTS In Honor of Lavea Brachman Judith and Merom Brachman In Memory of George Corey Georgeann Corey

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Larry and Peg Neal Mariko Kaneda-Niwa and David A. Niwa Angela and John Petro Sue Porter and Mike Sayre Harry and Sue Pukay-Martin Nathan Riley Patrick Ross Paulette Schmidt The Severns Giving Fund - William and Maureen Severns Ed and Nancy Strause Fund at The Columbus Foundation Judi and James Stillwell

Ronald L. Smith and Family Tom and Susan Szykowny Hamilton and Margaret Teaford Ella Uretsky Jonathan Wentz Ronald and Ramona Whisler Leslie Yenkin and Jonathan Petuchowski Michael Young and Sandra Wolf Anonymous PRELUDE $100 - $249 Gifts from Individuals Mary Ann and Michael Abrams Jane and Stan Ackley Susan Altan Randy Applegate Diane and Ted Armbruster Frank and Maureen Bittel Will and Elizabeth Blind Ann Brace Henry Brecher Susan Brown Greg Bryan Michael Burton Carol Chaitkin Peter Coccia Dale Cook Dan and Christie Crane Joanne and Russell Crouse Betsy and Nick DeFusco John DeSando Dixie Sayre Miller Fund of The Columbus Foundation Patrick Doss Jeanne Earhart Laura and Pat Ecklar Erik Edwards Toba Feldman Judy and Ted Fisher Karen and Ben Freudenreich Kelly Fuller and Bob Thomas Betty Garrett Carole and Nelson Genshaft Richard and Linda Gunther Lydia Hadley Mike and Harriet Hadra Lynne and David Herman David Humeston and Amy Popp Kari Jensen Renee Keller Joel and Gerry Kent

Gale and Steve Klayman Eric Kline Sharon Kokot Katie Kuvin Anne LaPidus Dr. and Mrs. Douglas Levin Timothy and Barbara Lloyd Philip Lortz Kathy and Thom Ludlam Mary Frances Macioce Judy Michaelson Laura Miller Steve and Alicia Miller The Nekvasil Charitable Fund Julia Noulin-Mérat and Patrick McGovern Carolyn Patterson Amy and Brian Peach Joseph and Minna N. Pirogovsky Sandra and Howard Pritz Sue and Mark Real David and Ann Rigney Bryant and Sandra Riley William L. Slutz and Linda A. Roomann Jennifer Ross Sharon Sachs and Donn Vickers Jonathan Sauer Lyle Saylor Gary and Ellen Schwarzmueller Patti Shorr Molly and Brian Snell Marilyn R. Smith RJ Sontag and Benjamin Hirt Rochelle and Jules Steinberg Susan Thompson Jill Whitworth Margie and Thomas Williams Barb Wooldridge Sarah Ziegler

This list includes contributions made to ProMusica for the period of July 1, 2023 to June 30, 2024. 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.

SPECIAL GIFTS In Memory of Bernice White Chuck White

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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 2023-2024 giving year (July 1, 2023 – June 30, 2024).

In Honor of Stephanie Blaha Catherine and Geoff Chatas

In Honor of Maxine McLeod Lisa and Michael Maggard

In Honor of Janet Chen Marjorie Bagley

In Honor of Katie McLin Marjorie Bagley

In Memory of Jerry Cunningham Beverley Ervine and Boyce Lancaster

In Memory of Jane McMaster Brian and Lee Chorpenning Harriet Donaldson Mabel Freeman Jim Ginter Laurie and Tom Hill McMaster Family Fund Larry and Peg Neal Mary Yerina and Bob Redfield

In Honor of Melissa DePew Bruce A. Jensen In Honor of Lindsey Dunleavy Mary Yerina and Bob Redfield In Memory of Norma Enerson Tom Battenberg and Helen Liebman Mary Lazarus Peggy Lazarus In Memory of Ellen Flamm Michael Flamm In Honor of Joan Herbers Parkview Partners Capital Management In Honor of Steve Keyes Michael Flamm In Memory of Barbara Reed Lambert David Lambert In Honor of Peggy Lazarus Nancy Marzella In Honor of Nancy Marzella Cathy and Bobby Kellerman Lane and John Rothschild

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In Honor of Marc Moskovitz Marjorie Bagley In Memory of Bernice Pochatek Nancy Lee Flynt In Memory of Darren Quintenz Beth Grimes-Flood and Tom Flood Laurie and Tom Hill Mary Lazarus Peggy Lazarus In Memory of Joseph Rodriguez Bruce A. Jensen In Honor of Caitlin Sherman Chris Yates and Howie Embry In Honor of Stephanie and Grant Stephenson Ann and Rick Theders

In Honor of Seyman and Sadie Stern Cathy and Bobby Kellerman Lane and John Rothschild In Memory of James D. Studer Craig Studer and Alyssa Cummings In Memory of Elizabeth Williams Tom Battenberg and Helen Liebman Julia and Milt Baughman Sarah Eagleson Beth Grimes-Flood and Tom Flood Barbara and Gary Giller Sue and James Gross Marilyn Harris Steven Hillyer Ann S. and Thomas E. Hoaglin Betsy and Henry Hope Linda and Bill Kimball Cynthia L. Krause Mary Lazarus Peggy Lazarus Nancy Marzella Thom O’Reilly ProMusica Chamber Orchestra Sustaining Board Susan and Ken Quintenz Lane and John Rothschild Rachel Sandman Sallie J. Sherman Mary Yerina and Bob Redfield In Honor of Mary Yerina and Bob Redfield Donna Cavell 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.

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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 2023-2024 school year.

INDIVIDUALS Robert Byrd Georgeann Corey Bethany Dwinnell Michael Fiske and Maureen Mugavin Steven Hillyer Susanne Jaffe Michael Jones and Jody Croley Jones Ken Odwarka Nathan Riley

SUPPORT FROM CORPORATIONS & FOUNDATIONS: American Electric Power Bank of America Ingram-White Castle Foundation The Hattie and Robert Lazarus Fund of The Columbus Foundation Ohio Arts Council ProMusica Sustaining Board

SPECIAL GIFTS: In Honor of Harold Riss Tom and Melissa Riss

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2024 Soirée Sponsors and Patrons We thank the following corporations and individuals for their generous support of our 2024 Soirée Benefit and Concert.

PRESENTING SPONOR The COR Group of UBS Financial Services GOLD SPONSORS BakerHostetler Jim Ginter Joan Herbers Ice Miller LLP Christine and Meri Kullberg Ologie Porter, Wright, Morris & Arthur LLP Lee Shackelford Vorys, Sater, Seymour and Pease LLP The Westin Great Southern Columbus Mary Yerina and Bob Redfield SILVER SPONSORS Bank of America Janet Chen and Rick Buchanan Crane Group Huntington Bank PNC Bank BRONZE SPONSORS Monica and Doug Kridler George Barrett Mimi Dane Bill and Wendy Faust Mike Jones and Jody Croley Jones Mary and Tom Katzenmeyer Kegler, Brown, Hill & Ritter Steve Keyes and Lauren Bonfield Caitlin Sherman and Vineeth Sukrithan

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PLATINUM PATRONS Lavea Brachman and Andrew O. Smith Michael Burton Mark and Mindy Corna Dr. Ellen and Dr. Stephen Douglas Dublin Toy Emporium Lynn Elliott and John Brownley Betsy and Jack Farrar Stephen Fechtor and Amy Thompson June and Jerry Frankel George F. Knight and Ellen Berndt Enas Lanham and Thomas Steele Mary Lazarus Peggy Lazarus Elliott Luckoff Nancy Marzella Susan and Bill McDonough Angela and John Petro Susan and Ken Quintenz David Schooler Miriam and Bernie Yenkin PATRONS Tom Battenberg and Helen Liebman Sally and Roger Baughman Yvonne and Dick Burry Marilyn and Marty Campbell Donna Cavell Darci Congrove Laura and Pat Ecklar Jim Elliott and John Behal Nancy and Steve Falk Bill and Wendy Faust Kirk Fisher and Laura MacDonald

Robert Fry and Jan Quatman Nelson and Carole Genshaft Barbara Goettler Michael and Joy Gonsiorowski Ruth Guzner Herb and Melissa Hedden Chris Hune Irvin Public Relations Yiema John Katherine Borst Jones Donna Laidlaw Sally McDonald Amy Milbourne Mary and Charlie Oellerman Patti Orzano Robert Palmer and Susan Simms Deborah Raita Julie and Bob Rutter Marquell, Ned, and Betsy Segelken Mark and Stacie Sholl Cynthia Whitacre Robert Wing Anonymous DONATIONS Mabel Freeman Rose Hume Tessa Parsons Jabe

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IN-KIND DONATIONS Rose Bredl Flowers & Gifts RAFFLE PRIZE DONATIONS American Electric Power Bill Faust Jake Gibson Huntington Elizabeth and Kulu Moyo Park Lane Hotel Porter, Wright, Morris & Arthur LLP Portland Japanese Garden ProMusica Chamber Orchestra Board of Trustees Bob Redfield The Refectory Restaurant Julie Rutter Lee Shackelford Todd Swatsler Tiffany & Co., NYC Together & Company Vorys, Sater, Seymour and Pease LLP Mary Yerina MEDIA SPONSOR WOSU Classical 101

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