ProMusica | Oct - Dec 2022 Program Book

2022/2023 season

Excellence The COR Group proudly supports ProMusica Chamber Orchestra

The COR Investment Group UBS Financial Services Inc. 5007 Horizons Drive Columbus, OH 43220 614-460-6552 800-421-6172 toll free

Brent G. Coakley, CFP® Senior Vice President–Wealth Management Thomas P. Reusser, CFP® Senior Vice President–Wealth Management

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CEO Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Music Director Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Creative Partner & Principal Guest Artist Biography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

7 Important Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Boards and Administration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1 Opening Weekend: Beethoven 5 Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Program. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 0 Handel's Messiah Biographies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 8 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 9 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 0 Text of Messiah. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 2 Vadim Plays Brahms Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 8 Meet the Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Financial Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 5

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 2022-23 season!

We have programmed beloved audience favorites including Beethoven’s Fifth Symphony and Handel’s majestic Messiah – reuniting with the LancasterChorale and four spectacular soloists. Our popular NAKED CLASSICS returns after a three-year hiatus, hosted by our longtime friend Paul Rissmann. Together, we will discover new works by composers Unsuk Chin and Reza Vali; and Noah Bendix-Balgley, concertmaster of the esteemed Berlin Philharmonic joins us as Composer/Performer performing his Klezmer Concerto. Exciting artists including Kian Soltani and Janice Carissa will make their debut with ProMusica, whose artistry will create new friendships with the orchestra. Postponed in 2020 due to the pandemic, we are thrilled to finally feature Grammy award winning artist Caroline Shaw, the youngest composer to win the Pulitzer Prize at age 30, alongside a powerful performance of Brahms’ magnificent Symphony No. 1 to conclude our 44th season.

Emerging out of two long and complex years, one thing remains clear – that life is richer when we gather as a community and experience these musical moments together. We invite you to join us all year long and be transformed through musical dialogue and reflection.

Thank you for sharing your evening with us.

Warmest Wishes,

Janet Chen Chief Executive Officer

Born in America and raised in Taiwan, Janet Chen has led an active and diverse career as a performing musician, arts administrator, and music educator. 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 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 68 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 named 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 and has been featured in Columbus CEO Magazine and The Columbus Dispatch. Janet serves on the Boards of the Experience Columbus, Columbus Music Commission, and Ohio Citizens for the Arts, and is a member of the Columbus Cultural Leadership Consortium.

Janet holds both a bachelor's degree from the Oberlin Conservatory of Music, and a master's degree in flute performance from the University of Cincinnati CollegeConservatory 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.

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Photo: Shellee Fisher Photography & Design for WELD

From the

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

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Photo: Rick Buchanan Photography

The Elizabeth M. Ross Music Director

David Danzmayr

“ The performance was an unmitigated triumph.”

Michael Tumelty, The Herald

“Extremely good, concise, clear, incisive and expressive” writes The Herald of David Danzmayr, who is widely regarded as one of the most talented and exciting European conductors of his generation.

Following on a very successful tenure as Chief Conductor of the Zagreb Philharmonic Orchestra, Danzmayr was appointed Conductor Laureate, the youngest ever to hold this title in the orchestra´s history.

Performing regularly to sold-out audiences in Zagreb´s Lisinski Hall and having been awarded the Zagreb City Award, Danzmayr and his orchestra also repeatedly toured to the Salzburg Festspielhaus, where they received standing ovations performing the prestigious New Year’s concert, and to the Wiener Musikverein.

Danzmayr serves as Music Director of the creative and unique ProMusica Chamber Orchestra, an orchestra comprised of musicians from all over the United States. Here, he regularly commissions worldrenowned composer/performers to appear in the first performances of their works alongside the great classics, a mission that extends the creative spirit of classical music and places the core repertoire in a modern context.

In February 2021, David was announced as the new Music Director of the Oregon Symphony. Previously David Danzmayr served as Music Director of the Illinois Philharmonic Orchestra in Chicago, where he was lauded regularly by both the Chicago Tribune and Chicago Classical Review for his performances. He was also the only conductor in the Chicago area, who programmed a piece of American music at every concert.

David has won prizes at some of the world´s most prestigious conducting competitions including a 2nd prize at the International Gustav Mahler Conducting Competition and prizes at the International Malko Conducting Competition. For his extraordinary success, he has been awarded the Bernhard Paumgartner Medal by the Internationale Stiftung Mozarteum.

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Building these early successes into a far-reaching international career, Danzmayr has quickly become a sought-after guest conductor for orchestras around the globe, having worked in Europe with the Deutsche Kammerphilharmonie Bremen, Vienna Radio, Stuttgart Radio, City of Birmingham, Hamburg, Basel, Bamberg, Odense, and Iceland symphonies, as well as Essener Philharmoniker, Bruckner Orchester, Mozarteum Orchester, Swedish Chamber Orchestra and others.

In North America, his talents have propelled him to the finest of U.S. and Canadian orchestras in a very short time, where he has already conducted the likes of the Minnesota Orchestra, the Detroit, Houston, Oregon, Milwaukee, Utah, Vancouver, San Diego, Colorado, North Carolina, Pacific, New Jersey, and Indianapolis symphonies, the Los Angeles Chamber Orchestra and Grant Park Festival just to name a few.

Besides numerous reinvitations, he will make major debuts this season with the Baltimore Symphony, San Antonio Symphony, Virginia Symphony, the Rochester Philharmonic and the BBC Orchestra of Wales.

He has served as Assistant Conductor of the Royal Scottish National Orchestra, which he conducted in more than 70 concerts so far, performing in all the major Scottish concert halls and the prestigious, Orkney based, St Magnus Festival.

David Danzmayr received his musical training at the University Mozarteum in Salzburg where, after initially studying piano, he went on to study conducting in the class of Dennis Russell Davies.

Danzmayr was strongly influenced by Pierre Boulez and Claudio Abbado in his time as conducting stipendiate of the Gustav Mahler Youth Orchestra and by Leif Segerstam during his additional studies in the conducting class of the Sibelius Academy. Subsequently, he gained significant experience as assistant to Neeme Järvi, Stephane Deneve, Carlos Kalmar, Sir Andrew Davis, and Pierre Boulez, who entrusted Danzmayr with the preparatory rehearsals for his music.

“Clearly Danzmayr has what it takes.”

–John von Rhein, Chicago Tribune

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Photo: Marco Borggreve

Creative Partner & Principal Guest Artist

Vadim Gluzman

Universally recognized among today’s top performing artists, Vadim Gluzman breathes new life and passion into the golden era of the 19th and 20th centuries‘ violin tradition. Gluzman’s wide repertoire embraces new music, and his performances are heard around the world through live broadcasts and a striking catalogue of awardwinning recordings exclusively for the BIS label.

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 Chicago Symphony and Orchestre de la Suisse Romande; 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, Grant Park, Colmar and the North Shore Chamber Music Festival, he has founded in 2011.

Highlights of the current season include performances with the Chicago Symphony, Orpheus Chamber Orchestra, NDR Elbphilharmonie Orchestra, Stuttgart Philharmonic, KBS and Singapore Symphony Orchestras, as well as concerts at Ravinia, Aspen, Blossom, Domaine Forget and Kronberg Festivals.

Mr. Gluzman also continues to lead performances with the 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 upcoming seasons he will introduce new violin concerto by ErkkiSven Tüür with Oregon Symphony, HR Frankfurt Radio Orchestra and Gothenburg 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, visit www.promusicacolumbus.org, or stop by the ProMusica office from 9:00am-5:00pm, Monday-Friday, 620 East Broad Street, Suite 300.

OUR MISSION

To deliver a world-class chamber

About the Orchestra ProMusica and our 37 musicians are redefining what it means to be a chamber orchestra. For four decades, ProMusica’s programs have honored the classics and celebrated the contemporary through world-class performances and creative approaches to musical storytelling.

Led by Music Director David Danzmayr and Creative Partner Vadim Gluzman, renowned violinist, the orchestra reaches a broad audience across the city—as the resident orchestra at the intimate Southern Theatre in downtown Columbus, and at notable venues beyond the I-270 outer belt. In 2017, ProMusica made its Chicago debut performing for a sold-out crowd at the North Shore Chamber Music Festival.

We embrace an array of eras and influences—as masters of classical works, champions of bold new commissions and innovators of crossover collaborations, ProMusica’s performances are time-tested and modern, presented in ways that few orchestras can. We are widely recognized as

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

a national leader in promoting contemporary repertoire— with 68 commissions and more than 120 world and regional premieres by composers including Pulitzer Prize winners Kevin Puts and Aaron Jay Kernis, Gabriela Montero, Michael Daugherty, Lera Auerbach, Conrad Tao and Joshua Roman.

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

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

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

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

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WISHING YOU A FANTASTIC SEASON, PROMUSICA!

Board of Trustees and Administration OFFICERS President Past-President Vice-President

Vice-President Vice-President Vice-President

Treasurer

Secretary

Bob Redfield, Civic Leader William Faust, Ologie Lavea Brachman, Brookings Institution Matthew Fornshell, Ice Miller LLP Susan Lubow, BakerHostetler Todd Swatsler, Partner (retired), Jones Day Elizabeth Turrell Farrar, Vorys, Sater, Seymour & Pease LLP Jessica Mrowzinski, Worthington Industries

TRUSTEES Maceo Bates, PNC Bank Lynn Elliott, Columbus Window Cleaning Adam Ferguson, Huntington Bank Patricio Garavito, Cardinal Health Joan Herbers, The Ohio State University Laurie Hill, Civic Leader + Dave Humeston, CoverMyMeds Brent Jackson, Fifth Third Bank + Stephen Keyes, Abercrombie & Fitch Nichole Marshall, Pinterest + Bill McDonough Elizabeth Moyo, Porter, Wright, Morris & Arthur LLP John Pellegrino, ProMusica Musician Representative Susan Quintenz, Civic Leader Susan Restrepo, STRS Ohio Jennifer Ross, ProMusica Musician Representative Julie A. Rutter, American Electric Power Lee Shackelford, Physician Mark Sholl, Hilliard City Schools Sergio Tostado, Jones Day + Executive Committee Member

EX-OFFICIO Janet Chen, Chief Executive Officer The Tom Battenberg & Helen Liebman Chair David Danzmayr, Music Director The Elizabeth M. Ross Music Director Betty Giammar, Sustaining Board Representative ADMINISTRATION Janet Chen Chief Executive Officer

T he Tom Battenberg & Helen Liebman Chair David Danzmayr Music Director

The Elizabeth M. Ross Music Director Vadim Gluzman C reative Partner & Principal Guest Artist Mayra Aburto Executive Assistant & Special

Projects Manager Yvette Boyer Finance Manager Carolyn Jakubczak Ticketing & Patron Services Manager Suzanne Jennison Orchestra & Operations Manager Matthew Kurk D irector of Advancement & Engagement Brittany Lockman Director of Marketing Mariana Szalaj Music Librarian

The Regie & David Powell Chair Lisa Wente Grants Consultant TRUSTEES CIRCLE Artie Isaac, Chair Deborah Anderson Tom Battenberg Milt Baughman Mark Corna Peter Costanza Patt DeRousie James Elliott Beverley Ervine Jim Ginter Melissa Ingwersen

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

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Enriching the Columbus community We are proud to support ProMusica Chamber Orchestra.

When superb professionals work in concert, amazing things happen.

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 Betty Giammar President Laurie Schmidt-Moats Vice President

Lisa Maggard Newsletter Yvonne Burry Nominating

Marquell Segelken Secretary

Marianne Mottley Special Events

Michael Maggard Treasurer

Rose Hume Sunshine

PAST PRESIDENT ADVISORS Claudia Abrams Yvonne Burry Donna Laidlaw Bob Redfield Mary Yerina

MEMBERS-AT-LARGE Sally Baughman Nancy Brownell Beverley Ervine Barbara Goettler Steven Hillyer Boyce Lancaster Barry Liss Thom O’Reilly Lee Shackelford Dyann Wesp

APPOINTMENTS Mary Oellermann and Laurie Schmidt-Moats Culinary Capers XXIX Paul George Electronic Services Melissa Schmidt Historian Lisa Maggard and Judy Michaelson Marketing Donna Cavell and Jennifer Markovich Membership

CONCERTMASTER MEMBERS Claudia Abrams Sally Baughman Richard Burry Yvonne Heather Burry Sandy Byers Harriet Donaldson Ellen Kay Douglas Beverley Ervine Betty Giammar Beth Grimes-Flood Laurie Hill Steven Hillyer Jody Croley Jones

Michael Jones Donna Laidlaw Boyce Lancaster Mary Lazarus Barry Liss Lisa Maggard Jennifer Markovich Deborah Norris Matthews Judy Michaelson Marianne Mottley Larry Neal Mary Oellermann Thomas O’Reilly Dorothy Pritchard Susan Quintenz Deb Raita Bob Redfield Melissa Schmidt Laurie Schmidt-Moats Lee Shackelford Sallie Sherman Beth Stafa* Stephanie Stephenson Elizabeth Williams Robert Wing Miriam Yenkin Mary Yerina PRINCIPAL MEMBERS Kim Bingle* Nancy Brownell Donna Cavell Janet Chen Marilee Chinnici-Zuercher Maggie Cunningham Lynn Elliott Elizabeth Turrell Farrar Marion Fisher

Contact the Sustaining Board at sustainingboard@promusicacolumbus.org. promusicacolumbus.org/sustainingboard 2 0 2 2 - 2 3 S E A S O N | promusicacolumbus.org

Barbara Goettler D. Jean Hester* Rose Hume Kathy Ludlum Andrew Maggard Michael Maggard Nancy Marzella Marybeth McDonald Susan McDonough Jane McMaster Hugh Schultz Gail Walter Dyann Wesp Margie Williams Becky Wright Serie Zimmerman MUSICIAN MEMBERS Ellen Bowden Lindsey Dunleavy Mary Faure Ellen George Paul George Sue Gross Elayne Gunder Linda Kurtz Cindy Mackin Anne Powell Riley Marquell Segelken * New or returning member

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

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Together, we build communities.

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

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October Guest Artist

Kian Soltani Hailed by The Times as a “remarkable cellist” and described

by Gramophone as “sheer perfection”, Kian Soltani’s playing is characterized by a depth of expression, sense of individuality and technical mastery, alongside a charismatic stage presence and ability to create an immediate emotional connection with his audience. He is now invited by the world’s leading orchestras, conductors and recital promoters, propelling him from rising star to one of the most talked about cellists performing today.

In 2021/22 Soltani has been invited to make debuts with orchestras including the Accademia Nazionale di Santa Cecilia, Czech Philharmonic, ORF Vienna Radio, Orchestra della Svizzera Italiana, WDR, Barcelona and Pittsburgh Symphony Orchestras. He will return to the London Philharmonic Orchestra, Vienna Symphony, Staatskapelle Berlin and Tonhalle Zurich amongst others. Furthermore, Soltani embarks on extensive orchestral touring including with the West-Eastern Divan Orchestra and Daniel Barenboim, St. Petersburg Philharmonic Orchestra and Yuri Temirkanov, ORF Vienna Radio Symphony Orchestra and Marin Alsop, and Royal Philharmonic Orchestra and Vasily Petrenko.

Recent orchestral highlights include the Vienna Philharmonic, London Philharmonic, Berlin Staatskapelle, NCPA Orchestra, Boston Symphony and Chicago Symphony Orchestras. Soltani was Artist-in-Residence at the Schleswig-Holstein Musik Festival in July 2021 in which he curated concerts including a Persian evening with the Shiraz Ensemble. Soltani commenced a multiyear residency with Junge Wilde at Konzerthaus Dortmund in Autumn 2018. As a recitalist, Soltani has recently performed at Carnegie Hall, Salzburg and Lucerne Festivals, Wigmore Hall and the Boulez Saal, where he was invited to curate an evening of cello music.

In 2017, Soltani signed an exclusive recording contract with Deutsche Grammophon and his first disc ‘Home’, comprising works for cello and piano by Schubert, Schumann and Reza Vali, was released to international acclaim in 2018, with Gramophone describing the recording as “sublime”. Soltani has since recorded discs including the Dvorak and Tchaikovsky

Piano Trios with Lahav Shani and Renaud Capucon, recorded live at Aix Easter Festival in 2018 released by Warner Classics and Dvořák’s Cello Concerto with the Staatskapelle Berlin and Daniel Barenboim in August 2020.

During the entirety of 2020, Soltani worked on his latest disc with Deutsche Grammophon which was released in October 2021. The disc, entitled ‘Cello Unlimited’, is a celebration of the cello and film music. Of the disc, Soltani wrote “Everything you will hear on this album is made only and exclusively with my cello and played only by me. The possibilities of this instrument are unlimited and infinite, and this album is a celebration of the instrument and of epic film music as well”.

Soltani attracted worldwide attention in April 2013 as winner of the International Paulo Cello Competition in Helsinki. In February 2017 Soltani won Germany’s celebrated Leonard Bernstein Award and in December 2017, he was awarded the prestigious Credit Suisse Young Artist Award.

Born in Bregenz, Austria, in 1992 to a family of Persian musicians, Soltani began playing the cello at age four and was only twelve when he joined Ivan Monighetti’s class at the Basel Music Academy. He was chosen as an Anne-Sophie Mutter Foundation scholarship holder in 2014 and completed his further studies as a member of the Young Soloist Programme at Germany’s Kronberg Academy. He received additional important musical training at the International Music Academy in Liechtenstein.

Kian Soltani plays “The London, ex Boccherini" Antonio Stradivari cello, kindly loaned to him by a generous sponsor through the Beares International Violin Society.

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D AV I D D A N Z M AY R THE ELIZABETH M. ROSS MUSIC DIRECTOR VIOLINS Katherine McLin, concertmaster The Donald G. Dunn Chair Rebecca Willie, assistant concertmaster The Joan M. Herbers Chair Jennifer Ross, principal second The Brachman Smith Family Chair **Amy Cave The Randy & Marilyn Miller Chair Eric Kline The Jim & Ida Copenhaver Ginter Chair Heather Kufchak The Deborah Raita Chair Solomon Liang The Laurie & Thomas W. Hill Chair William Manley The Fran Luckoff Chair Victoria Moreira The Dyann & E. Joel Wesp Chair Koko Watanabe The Elizabeth Williams Chair VIOLAS **Brett Allen The Keith F. & Katherine B. Dufrane Trust Chair Stephen Goist The Regie & David Powell 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 Chair Cora Kuyvenhoven T he Bob & Mary Frances Restrepo Chair BASSES John Pellegrino, principal The John F. Brownley Chair Patrick Bilanchone* The Kathryn D. Sullivan Chair

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

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HARPSICHORD Aya Hamada, principal The ProMusica Board Chair in memory of Ida Copenhaver ASSISTING MUSICIANS Amy Guitry piccolo Eric Louie contrabassoon Mark Kleine clarinet Brian Mangrum horn Mark Grisez trumpet David Roode trombone Michael Charbel trombone Chad Arnow trombone Nicholas Fox percussion Matthews Hawkins percussion Scott Cuellar piano Shannon Thomas violin Shannon Lock violin Pei-An Chao cello Boris Astafiev bass ORCHESTRA MANAGER Suzanne Jennison ** Begins the alphabetical listing of string players who participate in a system of rotated seating. *On leave for the 2022-23 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.

OPENING WEEKEND: BEETHOVEN 5 Kian Soltani, cello David Danzmayr, conductor Southern Theatre // Saturday, October 8 // 7:30 PM Southern Theatre // Saturday, October 9 // 7:00 PM

KERNIS Musica Celestis HAYDN Cello Concerto in C Major I. Moderato II. Adagio III. Allegro molto

Kian Soltani, cello VALI “The Girl from Shiraz” from Persian Folk Songs for Cello and Orchestra [Ohio Premiere] I. The Girl from Shiraz II. Love Drunk

Kian Soltani, cello

Intermission

Intermission lasts 15 minutes BEETHOVEN Symphony No. 5 in C Minor, Op. 67

I. Allegro con brio II. Andante con moto III. Allegro IV. Allegro The 44th Season Opening Weekend honors the ProMusica Sustaining Board, recipients of the 2022 Susan L. Quintenz Board Leadership Award.

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

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

Aaron Jay Kernis (b. 1960): Musica Celestis Instrumentation: Scored for string orchestra Duration: 12 minutes

Given his American success, it seems only fitting that Aaron J. Kernis hails from Philadelphia, that American city of cities. Trained early as a pianist and violinist, Kernis’ role as a composer began at the ripe age of 13, and by 16, he had already won the first of three BMI awards that he would earn as a student. His teachers read like a who’s who of American musical pioneers, among them John Adams (San Francisco Conservatory), Charles Wuorinen (Manhattan School), and Morton Subotnick (Yale University), composers whose diverse approaches to music no doubt equipped their prodigious student with numerous compositional options. Ultimately Kernis gravitated towards an approachable, neo-romantic style that unapologetically offers accessible frameworks and engaging thematic material. This is not to say that Kernis panders to the masses, for his music, whether choral, orchestral or chamber, is always inventive and imaginative. Nor is it surprising that he has assembled a long list of champions, from violinist Joshua Bell to the New York Philharmonic. No less impressive is Kernis’ list of accolades, which includes a Pulitzer and awards from the Guggenheim Foundation and the National Endowment for the Arts.

Though the composer admits to no personal belief in angels, his design for his 1990 composition, Musica Celestis, which sprang from his String Quartet of the same year, was to create a medieval-inspired sound that captured the essence of angels praising God without end.

This twelve-minute work for string orchestra unfolds as a set of variations framed by an introduction and coda.

The sound is rich and full-blooded, as one might expect from a body of string players. The heavenly introduction,

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which stunningly captures what we might imagine as the music of the spheres, gives way to a heartbreaking melody played by the concertmaster. Gradually the score develops increasing complexity, whether by way of polyphonic soloistic lines or increased activity produced by the larger ensemble, until returning to the celestial opening strains.

Throughout, Kernis’ mastery remains evident and his creativity undeniable.

Franz Joseph Haydn (1732-1809): Concerto for Cello and Orchestra in C Major, Hob. VIIb/1 Instrumentation: Scored for cello solo, pairs of oboes and horns, and strings Duration: 25 minutes Given the popularity of Haydn’s C Major Cello Concerto, it’s easy to lose sight of the fact that the work was presumed lost until its rediscovery in 1961. This accounts for the odd series of catalog numbers and letters above, following the abbreviation ‘Hob.’, or Hoboken, Haydn’s principal cataloger. It was then that Czech musicologist Oldřich Pulkert ran across the score in the Prague National Museum. Since then, the work has become a staple of the cellist’s repertoire and a favorite of audiences worldwide.

The C Major Concerto is believed to have been composed around 1765, when Haydn inked in the concerto’s opening theme in his draft catalog. At the time, Haydn was serving the immensely wealthy Esterházy family as vice-Kapellmeister and would be promoted to full Kapellmeister in 1766. Assuming this chronology is correct, the concerto would most likely have been composed for the orchestra’s principal cellist, a virtuoso by the name of Franz Weigl. Unlike the orchestra you’ll hear tonight, the band at Haydn’s disposal was but a fraction of the size and, at the most, would have included only one additional cellist besides the soloist! Yet what the Esterháza orchestra lacked in numbers, it more than made up for in ability, for it included some of Europe’s foremost players within its ranks, Weigl among them.

The concerto is constructed of the traditional three movements, all built on a modified sonata form. Following the orchestral tutti of the opening Moderato, the soloist enters with a proud C major chord—Haydn understood full

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well that that key was the lowest note on the cello and hence would best flatter the instrument. The movement’s second theme, which follows quickly thereafter, is of a more lyrical nature, and it is from these two ideas that Haydn spins out the rest of the movement, making full use of the instrument’s chordal and string crossing abilities. The Adagio, a lovely, lyrical affair, is simple yet always elegant, while the closing Allegro molto, by contrast, gives us a clue about the cellistic abilities of Weigl, who evidently inspired Haydn to write what is arguably his most dazzling concerto movement. It is a virtuosic tour de force that brings this captivating concerto to a breathless conclusion.

FROM THE COMPOSER:

Reza Vali (b. 1952): “The Girl from Shiraz” from Persian Folk Songs for Cello and Orchestra Instrumentation: Scored for cello solo, two flutes, oboe, clarinet, bass clarinet, bassoon, contrabassoon, pairs of horns, trumpets, and trombones, timpani, percussion, piano-celesta, harp, and strings Duration: Approximately 4 minutes

The Girl from Shiraz is commissioned by the Pittsburgh Symphony Orchestra and is written for Kian Soltani and the PSO. The piece is based on two Persian folk songs, both originating from the city of Shiraz. The sensual and the spiritual aspects of love intersect in the first song The Girl from Shiraz. The text of the original folk song is highly sensual describing the yearning of the lover for the beloved. The melody of this song, played by the solo cello, is accompanied by quotes from the Christmas carol Silent Night, Wagner’s Tristan and Isolde, as well as a quote from Messiaen’s Quartet for the End of Time.

The second song, Love Drunk is a well-known folk song from Shiraz. The original text of the song describes the intoxicating joy when the lovers meet.

Ludwig van Beethoven (1770-1827): Symphony No. 5 in C Minor, Op. 67

Instrumentation: Scored for piccolo (fourth movement only), pairs of flutes and oboes, clarinets in B-flat and C, two bassoons, contrabassoon (fourth movement only), two horns in E-flat and C, two trumpets, three trombones (alto, tenor, and bass, fourth movement only), timpani and strings.

Duration: 31 minutes

On December 22, 1808, those present within the walls of Vienna’s Theater an der Wien experienced the premiere of what would eventually become the world’s most recognizable piece of music, classical or otherwise. The program, which played out in a bitter cold theater, featured Beethoven conducting his 5th and 6th Symphonies, music from his Mass in C and a vocal aria, and his 4th Piano Concerto, which Beethoven conducted from the keyboard. Then, for good measure, he tacked on his Choral Fantasy, a twenty-minute work scored, curiously enough, for chorus, orchestra and piano soloist (again, Beethoven). The concert got underway at 6:30 in the evening and continued for the next four hours, but sadly, the quality of the orchestra suffered on account of inadequate rehearsal time. Matters were not helped by the players, largely amateurs and dilettantes, who on the whole had little patience for Beethoven’s challenging music. For his part, Beethoven, ever uncompromising, actually stopped the orchestra during the performance, shouted “Noch einmal!”—“Once again!” and made the band repeat a poorly executed passage! In sum, the evening was hardly what could be deemed a triumph. Yet despite its inauspicious start, the monumental Fifth would soon become embraced as a masterwork and exert a profound influence on the composers of the Romantic era.

Four years before its premiere, Beethoven had begun scribbling out ideas for a “Sinfonia,” entries that appear on lower portions of leaves in the so-called Eroica Sketchbook, a sketchbook whose pages are largely filled with drafts for his opera, Leonore. Thus, while in the act of composing his only opera, the composer also began planning something else entirely—an abstract symphonic work to be crafted in the dramatic key of C minor.

Curiously, however, the opening four notes of the C minor Symphony—which were to become the most recognizable aspect of the work—were not what Beethoven initially committed to paper. Rather, the earliest sketches actually reveal him beginning somewhere in the middle, with material for the third movement. Only then did he turn to the start, drafting out abbreviated ideas for the first movement’s exposition. Thus, rather than work through the composition from beginning to end, Beethoven made sure to first get several distinct ideas down on paper before casting the entire symphony. Yet because much of Beethoven’s early work on the symphony is missing,

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we cannot be certain how the rest of the compositional process unfolded, or even when. It appears the composer put at least some of the music aside and returned to the first movement in 1806, although much of the composition was likely composed during the following year. We do know that the autograph was finished around March of 1808, months ahead of its December premiere.

While the 5th is dwarfed in size by the titanic 3rd Symphony, the “Eroica” of 1803, Beethoven’s Op. 67 packs a powerful punch, no doubt on account of its dark and dramatic C minor tonality. Then, there is that powerful opening gesture, a four-note motif that is as much rhythm as pitch, if not more so. This attention-grabbing motif will sweep through much of the composition, surfacing at critical moments.

As for the symphony’s larger architecture, while its fourmovement framework betrays its classical Viennese origins, that is where all connection with tradition comes to an end.

Indeed, this symphony is far more than the sum of its parts.

Whether or not we believe Anton Schindler, Beethoven’s factotum and reliably unreliable early biographer, who testified that the composer equated his opening idea with fate knocking at the door, the Fifth certainly operates on a level far beyond what was typically associated with symphonic music. Thus, rather than simply compose another symphony, Beethoven likely had some sort of extra-musical drama in mind, perhaps the movement from dark to light or the triumph of good over evil, as reflected in the score’s shift from C minor to C major. Whatever the case, in a mere 30 minutes, we are taken on a journey of a lifetime. Buckle up!

About the Program Notes Author

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

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© Marc Moskovitz www.marcmoskovitz.com

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November Featured Artists

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Yulia Van Doren soprano

A dedicated interpreter of repertoire off the beaten path, RussianAmerican soprano 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, has the distinction of being the only singer awarded top prizes in all US Bach vocal competitions, and is featured on two Grammy-nominated opera recordings with the Boston Early Music Festival.

Other career highlights include 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; Monteverdi concerts in Venice with Sir John Eliot Gardiner; Scarlatti’s rarely-performed opera Tigrane at Opera de Nice; Handel’s Acis and Galatea with the Radio Kamer Filharmonie at Amsterdam’s Concertgebouw, and with Akademie für Alte Musik Berlin in Macau, marking the first Handel opera performance in the Chinese region; a variety of 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.

Ms. Van Doren made her European debut singing the historicallynotable Hungarian premiere of Barber's Knoxville: Summer of 1915 with the Hungarian Radio Symphony Orchestra.

Passionate about cross-arts collaboration, she has been a frequent soprano soloist for renowned choreographer Mark Morris since 2007, singing many national and international performances with his company including Dido and Aeneas, Acis and Galatea, and Morris’ iconic L’Allegro; and in 2019 Ms. Van Doren became the first opera singer to perform at the Essaoira World Music Festival, one of Africa’s largest music festivals, in a guest appearance with Moroccan Gnawa superstar Hassan Hakmoun.

Born in Moscow, Ms. Van Doren was raised in the United States in a music-filled household in which she and her seven younger siblings were taught by their Russian mezzo-soprano mother and American jazz pianist father. After spending her high school years working full-time in professional musical theater, she switched focus to classical singing and attended New England Conservatory. Her graduate degree from Bard College Conservatory was generously supported by a Soros Fellowship, and postgraduate study in Paris by a Beebe Fellowship. She is an Astral Artist Laureate.

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Julie Miller

mezzo-soprano Hailed for the “arresting color” (Cincinnati Enquirer) of her voice, Julie Miller has appeared as a soloist with orchestras and opera companies throughout the USA. As a member of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago she appeared on the stage of the Lyric Opera of Chicago as Emilia in Otello, Annina (La Traviata), Ida (Die Fledermaus) and Krystina (The Passenger). Other notable assignments with the company include Baroness Nica in Charlie Parker's Yardbird plus understudies of Octavian in Der Rosenkavalier and Waltraute in Die Walküre. She recently performed the title role in Handel’s Ariodante which Chicago Classical Review described as an “admirable and professional performance" and the Chicago Tribune called "deeply musical."

Elsewhere, she has appeared with Madison Opera and in London with Hackney Empire as Baroness Nica, Vero Beach Opera as Orlofsky in Die Fledermaus, Sugar Creek Opera as Ma Joad in The Grapes of Wrath, Opera Idaho as Charlotte in Werther and Sacramento Philharmonic and Opera as Maddalena in Rigoletto.

Other notable roles she has performed include Jo (Little Women), Annio (La clemenza di Tito), Stephano (Roméo et Juliette), Donna Elvira (Don Giovanni), Ottavia (L’incoronazione di Poppea) and the Mother (Amahl and the Night Visitors).

She has appeared on the concert stage as soloist in Bach’s Magnificat and Cantata No. 6, Handel's Messiah, Durufle’s Requiem, Beethoven’s Symphony No. 9, and Mozart’s Mass in C minor and Requiem. Orchestras with whom she has appeared include the Kalamazoo Symphony Orchestra, Cincinnati Symphony Orchestra, Grant Park Music Festival, Illinois Symphony Orchestra and Oregon Mozart Players. She was a featured soloist at Carnegie Hall in the world premiere of Ryan Carter's Doot, the Ravinia Festival in Bernstein's Songfest, the Elgin Symphony Orchestra in Mahler's Symphony No. 2, and Apollo Symphony for Handel’s Messiah. A regular guest of the Madison Symphony Orchestra, she has appeared with them as Mezzo-Soprano Soloist in Janacek’s Glagolitic Mass and Mahler’s Symphony No. 8.

Ms. Miller is the recipient of the Jerome and Elaine Nerenberg Foundation Scholarship and the Rose McGilvray Grundman Award (American Opera Society of Chicago), the Richard F. Gold Career Grant (Shoshana Foundation), and the Edith Newfield Scholarship Award (Musicians Club of Women). She earned her Bachelor’s Degree from CSU Sacramento and her Master’s Degree in Vocal Arts at the Bard College Conservatory of Music.

She also participated in the Georg Solti Accademia Bel Canto in Castiglione della Pescaia, Tuscany.

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Steven Soph tenor

A “superb vocal soloist” (The Washington Post) with “impressive clarity and color” (The New York Times), tenor Steven Soph performs concert repertoire spanning the Renaissance to modern day.

In 2022, Steven debuts with the Seattle, Fort Worth, and Aiken Symphony Orchestras in Handel’s Messiah, with the South Dakota Symphony Orchestra in Bach’s St. Matthew Passion, in the Baldwin Wallace University Bach Festival as Evangelist in Bach’s Christmas Oratorio, and as a member of Vancouver, B.C.’s The Leonids and Louisville’s Artefact. Steven returns to the Charlotte Bach Festival as Evangelist in Bach’s St. John Passion, to Baltimore Choral Arts to perform and record Anthony Blake Clark’s completion of Mozart’s Requiem, to Providence’s Ensemble Altera for their debut recording, to the Oregon Bach Festival covering St. John and St. Matthew Passion Evangelists, and to the Santa Fe Desert Chorale’s Summer Festival.

Steven’s recording credits include solos on GRAMMY®-nominated “The Singing Guitar” with Austin’s Conspirare, Académie du Disque Lyrique Orphées d’Or-winning “Guillaume Du Fay: The Tenor Masses” with Boston’s Cut Circle, tenor vocals on Maná’s Latin GRAMMY® Award-winning Best Pop/Rock Album “Cama Incendiada,” and Jory Vinikour’s album of duet cantatas by Agostino Steffani.

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Kevin Deas bass-baritone

Kevin Deas has gained international renown as one of America’s leading bass-baritones. He is perhaps most acclaimed for his signature portrayal of the title role in Porgy and Bess, having performed it with the New York Philharmonic, Philadelphia Orchestra, National Symphony, Saint Paul Chamber Orchestra, Pacific Symphony, as well as the most illustrious orchestras on the North American continent, and at the Ravinia, Vail and Saratoga festivals.

His 2021-22 season highlights included performances of Mozart’s Requiem with the Florida Orchestra, Handel’s Messiah with the National Cathedral, Boston Baroque, and the New York Philharmonic. Other notable performances in the season included Nathaniel Dett’s The Ordering of Moses with the Bach Festival Society of Winter Park, Beethoven’s Symphony No. 9 with the Las Vegas Philharmonic and the Phoenix Symphony, Bach’s St. Matthew Passion with the Portland Symphony Orchestra, and performing the role of Porgy in Gershwin’s Porgy and Bess with the Des Moines Metro Opera, as well as the role of Dick Hallorann in Paul Moravec’s critically acclaimed opera The Shining with the Opera Colorado.

Steven holds degrees from the University of North Texas and Yale School of Music where he studied at Yale’s Institute of Sacred Music with renowned tenor James Taylor. Steven attended the American Bach Soloists Academy in 2011, was a 2014 Carmel Bach Festival Adams Fellow, and a 2016 Oregon Bach Festival Young Artist.

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LancasterChorale Dr. Stephen Caracciolo, Artistic Director

Celebrated as central Ohio’s premier all-professional chamber choir, LancasterChorale has established its role as a vital force in choral music by performing challenging repertoire drawn from the rich treasury of the past, commissioning new works to inspire the American public to more fully understand its present, and supporting educational programming with young singers to promote the future of the choral arts.

Engaging the region’s leading professional vocal artists, LancasterChorale garners high praise for its beauty of tone, musical integrity, remarkable blend, and exceptional commitment to elegant text phrasing. Under the direction of nationally recognized choral composer Stephen Caracciolo, the ensemble performs an astonishingly wide range of choral literature including plainchant, Renaissance and Baroque motets, German-Romantic part songs, French chansons, the sacred literature of the English and Russian churches, opera choruses, carols of every variety, American folk songs and spirituals, and works by living composers.

LancasterChorale performs in cities throughout Ohio and appears regularly with Columbus' ProMusica Chamber Orchestra.

SOPRANO

Suzy Biehl Deborah Brennan Karen Cook Melissa Lawson Elizabeth McConnaughey Kelly Myers Kylie Ogg Cynthia Perotti Juliana Rauch Ronda Rom

ALTO / COUNTERTENOR Stephen Barker Jamie Blair Heather Chute Emily Dunaj Elizabeth Festi Beth Pittman Mary Rizzardi Gretchen Rutz Tim Sarsany

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TENOR

Brady Brennan Dustin Hill Dustin Jarred Andrew LeVan Justin Meyer Bradley Naylor Nathan Ogg Matthew Pittman

BASS

Matthew Bester Jarrod Coil Joshua Cook Billy Edwards Jesse Heetland John Schlabach Will Schott Sam Witmer Dylan Woodring

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D AV I D D A N Z M AY R THE ELIZABETH M. ROSS MUSIC DIRECTOR VIOLINS Katherine McLin, concertmaster The Donald G. Dunn Chair Rebecca Willie, assistant concertmaster The Joan M. Herbers Chair Jennifer Ross, principal second The Brachman Smith Family Chair **Amy Cave The Randy & Marilyn Miller Chair Eric Kline The Jim & Ida Copenhaver Ginter Chair Heather Kufchak The Deborah Raita Chair Solomon Liang The Laurie & Thomas W. Hill Chair William Manley The Fran Luckoff Chair Victoria Moreira The Dyann & E. Joel Wesp Chair Koko Watanabe The Elizabeth Williams Chair VIOLAS **Brett Allen The Keith F. & Katherine B. Dufrane Trust Chair Stephen Goist The Regie & David Powell 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 Chair Cora Kuyvenhoven T he Bob & Mary Frances Restrepo Chair

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BASSES John Pellegrino, principal The John F. Brownley Chair Patrick Bilanchone* The Kathryn D. Sullivan Chair FLUTES Nadine Hur, principal The Dana Navin Schultz Chair Anthony Trionfo+ The Miriam & Bernard Yenkin Chair OBOES Donna Conaty, principal The Lee Shackelford Chair Jessica Smithorn The Artie & Alisa Isaac Chair CLARINETS Ilya Shterenberg, principal T he Beth Grimes-Flood & Tom Flood Chair Jennifer Magistrelli The Jack & Betsy Farrar Chair BASSOONS Ellen Connors, principal The ML Chair Rachael Young The Carolyn Merry & Bob Redfield Chair HORNS Stephanie Blaha, principal The Todd S. Swatsler Chair Vacant The Denise & Barry Blank Chair TRUMPETS Vacant, principal The Susan L. Quintenz Chair Timothy Leasure The William & Wendy Faust Chair

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TIMPANI & PERCUSSION Renee Keller, principal The Michael & Jody Croley Jones Chair Rajesh Prasad The Bob Redfield & Mary Yerina Chair HARP Jeanne Norton, principal The Sustaining Board Chair HARPSICHORD Aya Hamada, principal The ProMusica Board Chair in memory of Ida Copenhaver ASSISTING MUSICIANS Mark Grisez trumpet Ryan Kilgore timpani Shannon Lock violin Yael Senamaud viola Jena Huebner bass ORCHESTRA MANAGER Suzanne Jennison ** Begins the alphabetical listing of string players who participate in a system of rotated seating. *On leave for the 2022-23 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.

HANDEL’S MESSIAH Yulia Van Doren, soprano Julie Miller, mezzo-soprano Steven Soph, tenor* Kevin Deas, bass-baritone LancasterChorale David Danzmayr, conductor Southern Theatre // Saturday, November 12 // 7:00 PM Southern Theatre // Sunday, November 13 // 7:00 PM

HANDEL Messiah

Part the First Intermission

Intermission lasts 15 minutes

Part the Second

Part the Third

Stay for Coda: Post-Concert Conversation. Meet Yulia Van Doren, Julie Miller, Steven Soph, Kevin Deas, and David Danzmayr and learn more about tonight’s program. *Steven Soph is replacing Daniel McGrew as tonight’s tenor soloist.

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

George Frideric Handel (1685-1759): Messiah, HWV 56

Instrumentation: Scored for soprano, alto, tenor, bass, chorus, strings, oboes, bassoon, trumpets and harpsichord.

Duration: Approximately 2 hours On April 13, 1743, in Dublin’s Musick Hall, Handel’s Messiah was heard for the first time, as an Easter offering, before an audience of 700. In order to accommodate the most listeners possible, ladies were requested to leave their fashionable hoop skirts at home. Some Dubliners turned out on account of the contralto, Susannah Cibber, who was then in the throes of a scandalous divorce, but the majority were naturally on hand because of Handel himself, arguably the most famous composer alive. And because Handel’s music had not fared so well before London audiences the previous season, the composer decided that his latest oratorio would premiere elsewhere, before bringing it home to England. Dublin, a prosperous, fast-growing city, proved the perfect testing ground for Handel’s latest offering.

Messiah was heard in London soon enough, although the score required far more time before becoming an established Christmas-time staple.

The son of a surgeon, George Frideric Handel was born and trained in Halle, Germany, where he demonstrated an unusual talent for music at an early age. Although his father initially intended for his son to pursue a career in law, it soon became apparent that his talents lie elsewhere. Eventually, Handel left for Italy, where he absorbed the popular Italian musical style en vogue throughout the continent. He then returned to Germany

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to serve the Elector of Hanover (later, King George I of England, for whom Handel would compose his soon-to-be-famous Water Music). At one point during Handel’s Hanover tenure, he took a break to travel to England and never returned. Embraced in London as one of their own, Handel eventually became a naturalized English citizen.

Handel not only gained great fame but wealth during his lifetime yet managed to keep his private life private. We know that he never married but because he left almost nothing in the way of letters, little that happened behind the scenes has come down to us.

He was clearly generous, however, and in his will left money to various individuals and charities and his house in Brook Street to his manservant. (It is worth noting that Handel was not the only musician to own property in this building—centuries later, Jimi Hendrix occupied the building’s upper floors, and the entire structure has since been transformed into a museum honoring the geniuses who once lived here).

Though Handel composed in most every genre of the day, it was as a composer of Italian opera that he established an international reputation. Though these played to great success in London for years, in time, English audiences tired of the genre, both on account of not understanding Italian and a general squeamishness with the concept of castrato singers, despite their superstar status and longstanding tradition. With his finger on London’s musical pulse, Handel tried out another genre on his audiences: oratorio, music based on Biblical themes and composed in the vernacular, requiring neither sets nor stagecraft. His first two attempts, Esther and Deborah, proved so financially successful that he abandoned opera altogether, despite transferring some of opera’s magic, such as the da capo aria, into this less onerous musical type. Then, in the summer of 1741, Handel traveled to Dublin for a series of charity concerts, where he became convinced of the city’s musical merits. Not long thereafter, Charles Jennens, an English landowner and patron, crafted a libretto based on the Passion story and asked Handel

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to consider setting it to music. The composer threw himself entirely into the task, writing night and day.

Incredibly enough, Handel dispatched the entire score within about four weeks, and the rest is, as they say, history.

Gallons upon gallons of ink have been spilled analyzing, deconstructing, and reflecting upon Handel’s efforts, so we will simply point out a few features in this towering composition. First, although the original score does not specify precisely which or how many instruments were intended—in subsequent performances Handel himself adjusted matters depending on the circumstances—Handel most certainly envisioned a handful of strings, oboes, a harpsichord and, for good measure, trumpets, whose sparse usage only magnifies their effect. The oratorio opens with a Sinfony, an orchestral overture in the French style. The crisp, short-long rhythm at its outset looks to the music of Jean Baptiste Lully, who consciously “invented” this stately gesture as a means of flattering his employer, Louis XIV.

phrasing, suggests tripping or staggering. Also, note how deeply the word “darkness” is sung, in contrast to “light,” which is both held and sits atop the soloist’s range. Of course, little explanation is required to appreciate Handel’s spirited depictions of joy, whether in “Every valley” (note here how Handel sets the words “crooked” and “exalted”) or the virtuosic coloratura soprano writing in “Rejoice.”

And finally, whether or not King George II actually stood in homage to the ‘Hallelujah Chorus,’ doing so has become something of a tradition, and for good reason—one can hardly imagine a more glorious conclusion to such a breathtaking work. Little wonder, then, that this chorus became something of a hit already in the composer’s lifetime. More than two and a half centuries later, Handel’s majestic conclusion still has the power to make one’s hair stand on end. © Marc Moskovitz www.marcmoskovitz.com

Handel’s Messiah now unfolds over the course of three large sections—in contrast with Handel’s other oratorios, which are based on tight biblical themes and dramatic plots, Messiah is far more loosely put together—moving from the prophesied birth of Jesus Christ to his noble sacrifice and finally his resurrection and the redemption of mankind.

This Passion is told through several voices—vocal soloists—which alternate with the sublime power of the chorus. Handel’s genius is reflected in any number of ways, including his imaginative and fitting musical imagery, which brilliantly captures the essence and poignancy of Jennens’ libretto. In the very first aria, “Comfort Ye, my people,” for example, listen for the gentle accompaniment and the soothing repetition of the word “Comfort.” The 11th aria, “The people walked in darkness,” features a bass line that plods along in unison with the bass soloist; the notes move unevenly here and there which, along with the irregular

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TEXT OF MESSIAH Part the First 1. SINFONY (OVERTURE) 2. Accompanied Recitative (tenor) Comfort ye, comfort ye my people, saith your God. Speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplished, that her iniquity is pardoned.

The voice of him that crieth in the wilderness; prepare ye the way of the Lord; make straight in the desert a highway for our God. (Isaiah 40:1-3) 3. Aria (Tenor) Ev'ry valley shall be exalted, and ev'ry moutain and hill made low; the crooked straight and the rough places plain. (Isaiah 40:4) 4. Chorus And the glory of the Lord shall be revealed, and all flesh shall see it together, for the mouth of the Lord hath spoken it. (Isaiah 40:5) 7. Chorus And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness. (Malachi 3:3) 8. Recitative (Mezzo-soprano) Behold, a virgin shall conceive and bear a son, and shall call His name Emmanuel, God with us. (Isaiah 7: 14; Matthew 1: 23) 9. Aria (Mezzo-soprano) and Chorus O thou that tellest good tiding to Zion, get thee up into the high mountain. O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah; Behold your God! Arise, shine, for thy light is come, and the glory of the Lord is risen upon thee. (Isaiah 40:9, 60:1) 10. Accompanied Recitative (Bass) For behold, darkness shall cover the earth, and gross darkness the people; but the Lord shall arise upon thee, and His glory shall be seen upon thee. And the Gentiles shall come to thy light, and kings to the brightness of thy rising. (Isaiah 60: 2-3)

11. Aria (Bass) The people that walked in darkness have seen a great light; and they that dwell in the land of the shadow of death, upon them hath the light shined. (Isaiah 9:2)

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12. Chorus For unto us a child is born, unto us a son is given, and the government shall be upon His shoulder; and His name shall be called Wonderful, Counselor, The Mighty God, The Everlasting Father, The Prince of Peace. (Isaiah 9:6) 13. Pifa (Pastoral Symphony) 17. Chorus Glory to God in the highest, and peace on earth, good will towards men. (Luke 2:14)

18. Aria (Soprano) Rejoice greatly, O daughter of Zion! Shout, O daughter of Jerusalem! Behold, thy King com’th unto thee; He is the righteous Saviour, and He shall speak peace unto the heathen. (Zecharaiah 9:9-10) 19. Recitative (Mezzo-soprano) Then shall the eyes of the blind be open’d, and the ears of the deaf unstopped. Then shall the lame man leap as an hart, and the tongue of the dumb shall sing.

(Isaiah 35: 5-6)

20. Aria (Soprano and Mezzo-soprano) He shall feed His flock like a shepherd; and He shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that are with young. Come unto Him, all ye that labor, come unto Him that are heavy laden, and He will give you rest. Take his yoke upon you, and learn of Him, for He is meek and lowly of heart, and ye shall find rest unto your souls. (Isaiah 40: 11; Matthew 11: 28-29)

21. Chorus His yoke is easy, and His burthen is light. (Matthew 11:30)

Part the Second 22. Chorus Behold the Lamb of God, that taketh away the sin of the world. (John 1:29) 24. Chorus Surely He hath borne our griefs, and carried our sorrows!

He was wounded for our transgressions; He was bruised for our inequities; the chastisement of our peace was upon Him. (Isaiah 53:4-5) 25. Chorus And with His stripes we are healed. (Isaiah 53:5)

26. Chorus All we like sheep have gone astray; we have turned ev’ry one to his own way. And the Lord hath laid on Him the iniquity of us all. (Isaiah 53:6)

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27. Accompanied Recitative (Tenor) All they that see Him laugh Him to scorn; they shoot out their lips, and shake their heads, saying: (Psalm 22:7) 28. Chorus He trusted in God that He would deliver Him; let Him deliver Him, if He delight in Him. (Psalm 22:8)

29. Accompanied Recitative (Tenor) Thy rebuke hath broken His heart: He is full of heaviness.

He looked for some to have pity on Him, but there was no man, neither found He any to comfort him. (Psalm 69:20) 30. Arioso (Tenor) Behold, and see if there be any sorrow like unto His sorrow. (Lamentations 1 12)

31. Accompanied Recitative (Tenor) He was cut off out of the land of the living: for the transgressions of thy people was He stricken. (Isaiah 53:8) 32. Aria (Tenor) But Thou didst not leave His soul in hell; nor didst Thou suffer Thy Holy One to see corruption. (Psalm 16:10) 33. Chorus Lift up your heads, O ye gates, and be ye lift up, ye everlasting doors, and the King of Glory shall come in.

Who is the King of Glory? The Lord of hosts, he is the King of glory. (Psalm 24:7-10) 34. Recitative (Tenor) Unto which of the angels said He at any time: "Thou art My Son, this day have I begotten Thee?" (Hebrews 1:5)

44. Chorus Hallelujah! For the Lord God Omnipotent reigneth. The kingdom of this world is become the kingdom of our Lord, and of His Christ; and He shall reign for ever and ever.

King of Kings, and Lord of Lords, Hallelujah! (Revelation 19:6, 11:15, 19:16)

Part the Third 45. Aria (Soprano) I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth. And though worms destroy this body, yet in my flesh shall I see God. For now is Christ risen from the dead, the first fruits of them that sleep. (Job 19: 25-26, I Corinthians 15:20) 46. Chorus Since by man came death, by man also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive. (1 Corinthians 15:21,22) 47. Accompanied Recitative (Bass) Behold, I tell you a mystery; we shall not all sleep, but we shall all be chang’d in a moment, in the twinkling of an eye, at the last trumpet. (I Corinthians 15: 51-52)

48. Aria (Bass) The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be chang’d. (I Corinthians 15: 52-53) 53. Chorus Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honor, and glory, and blessing. Blessing and honor, glory and power, be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever. Amen. (Revelation 5:12, 9:13)

40. Aria (Bass) Why do the nations so furiously rage together, and why do the people imagine a vain thing? The kings of the earth rise up, and the rulers take counsel together against the Lord, and against His anointed. (Psalm 2:1-2)

41. Chorus Let us break their bonds asunder, and cast away their yokes from us. (Psalm 2:3) 42. Recitative (Tenor) He that dwelleth in Heav'n shall laugh them to scorn; the Lord shall have them in derision. (Psalm 2:4) 43. Aria (Tenor) Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter's vessel. (Psalm 2:9)

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I usually describe myself as a ceramic artist because the majority of my work is based in the material of clay. However, it might be better to describe myself as a maker. My work ranges from functional pottery to weird sculptures, temporary installations and permanent public art, tile and sometimes brick work.

The people, the arts community in any city is shaped by the people, and we’re good people. As my wife Jen put it once, Columbus is a big city you can wrap your arms around.

Supporting and advancing the arts and cultural fabric of Columbus.

GCAC.org

Design: Formation Studio

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

Four Columbus Area Locations

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

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800- D RU RY IN N

D AV I D D A N Z M AY R THE ELIZABETH M. ROSS MUSIC DIRECTOR VIOLINS Katherine McLin, concertmaster The Donald G. Dunn Chair Rebecca Willie, assistant concertmaster The Joan M. Herbers Chair Jennifer Ross, principal second The Brachman Smith Family Chair **Amy Cave The Randy & Marilyn Miller Chair Eric Kline The Jim & Ida Copenhaver Ginter Chair Heather Kufchak The Deborah Raita Chair Solomon Liang The Laurie & Thomas W. Hill Chair William Manley The Fran Luckoff Chair Victoria Moreira The Dyann & E. Joel Wesp Chair Koko Watanabe The Elizabeth Williams Chair VIOLAS **Brett Allen The Keith F. & Katherine B. Dufrane Trust Chair Stephen Goist The Regie & David Powell 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 Chair Cora Kuyvenhoven T he Bob & Mary Frances Restrepo Chair BASSES John Pellegrino, principal The John F. Brownley Chair Patrick Bilanchone* The Kathryn D. Sullivan Chair

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

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HARPSICHORD Aya Hamada, principal The ProMusica Board Chair in memory of Ida Copenhaver ASSISTING MUSICIANS Evan Lynch clarinet Stephen Laifer horn David Roode trombone Michael Charbel trombone Ryan Kilgore percussion Matthew Hawkins percussion Shannon Thomas violin Marcin Arendt violin ORCHESTRA MANAGER Suzanne Jennison ** Begins the alphabetical listing of string players who participate in a system of rotated seating. *On leave for the 2022-23 season +One year appointment The Musicians of the ProMusica Chamber Orchestra are members of, and represented by, the Central Ohio Federation of Musicians, Local 103 of the American Federation of Musicians.

VADIM PLAYS BRAHMS Vadim Gluzman, violin & creative partner David Danzmayr, conductor Southern Theatre // Saturday, December 10 // 7:00 PM Southern Theatre // Sunday, December 11 // 7:00 PM

CHIN

subito con forza

BRAHMS Violin Concerto in D Major, Op. 77

I. Allegro non troppo II. Adagio III. Allegro giocoso, ma non troppo vivace

Vadim Gluzman, violin

Intermission

Intermission lasts 15 minutes

MACMILLAN

One

MENDELSSOHN Symphony No. 5, Op. 107, “Reformation” I. Andante - Allegro con fuoco II. Allegro vivace III. Andante IV. Andante con moto

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

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

Unsuk Chin (b. 1961): subito con forza

Instrumentation: Scored for pairs of oboes, flutes, clarinets, bassoons, trumpets, horns, timpani, percussion and strings Duration: Approximately 5 minutes South Korean Unsuk Chin packs about as much power into her subito con forza (suddenly with force) as seems possible. “What particularly appeals to me are the enormous contrasts: from volcanic eruptions to extreme serenity.” There is plenty of both in this tight five-minute work that draws on vivid colors and the intensity of Stravinsky (think Rite of Spring), Ligeti (among her teachers and one of the most important of the 20thcentury avant-garde), and even Beethoven (strains of his Coriolan Overture open Chin’s composition). Unsuk’s score runs the tonal gamut, provides references enough to be hauntingly familiar on the one hand, and creates a sonic palette that pushes music’s limits on the other. A brilliant score by this award-winning, Berlin-based master.

Johannes Brahms (1833-1897): Concerto for Violin and Orchestra, Op. 77 in D Major Instrumentation: Scored for pairs of oboes, flutes, clarinets, bassoons, trumpets, four horns (originally, two ‘natural horns’ in D and two in E), timpani and strings Duration: 38 minutes

Surprising as it may seem today, Johannes Brahms struggled mightily with insecurities, despite his evident mastery of every musical medium with which he worked.

A large portion of his concerns was attributable to Beethoven, whom Brahms regarded as his musical forefather, believing he needed to live up to the ideals the older master had established for successive generations.

It was a tall order, but one Brahms ultimately achieved in spades. But Brahms also needed the affirmation of his contemporaries, particularly composer and pianist Clara

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Schumann and his long-time friend Joseph Joachim, and often submitted his scores to both for their criticism or approval.

We have Brahms’ tight-knit relationship with Joseph Joachim, among the era’s greatest violinists, to thank for one of the composer’s most beloved scores. During the course of the concerto’s composition, Brahms sent Joachim various solo passages to ensure that the violin writing was idiomatic (or at the very least playable!).

In the end, the composer did not heed all of his friend’s advice, though the final product proved so sublime that we might applaud Brahms for sticking to his guns. Joachim did insist, however, that he premiere the concerto on the same program with Beethoven’s concerto—a work also in the same key—not so much as a comparison but to pit old against new. The premiere, which took place in 1879 with Brahms conducting, was not an overwhelming critical success by any means, a common enough experience for Brahms’ newest offerings. But as was also typical of his music, time proved the ultimate judge, and his D major Violin Concerto soon came to be regarded as among the greatest ever written for the instrument.

Not unexpectedly, Brahms’ score reveals clear indebtedness to that of Beethoven, including the violin’s entrance with the timpani following the first movement's orchestral introduction. But Brahms’ magisterial creation stands fully on its own as a masterstroke of solo writing infused with robust, symphonic orchestration. In fact, violin virtuoso Pablo de Sarasate refused to play the work on account of not wanting to stand around while the oboe took center stage in the concerto’s sublime second movement! Brahms’ indebtedness to tradition is evident in the work’s three-movement scheme and reliance on classical forms, although in its infancy, Brahms was actually considering a four-movement scheme (in the end, the discarded material was reworked in the composer’s Second Piano Concerto). Fittingly, Joachim’s masterful first movement cadenza quickly became the most familiar, allowing the violinist’s voice to take its place among his friend’s towering composition, although many violinists have since composed their own. But in the end, it is Brahms’ voice that we ultimately remember, his Violin Concerto enduring among the greatest “orchestral” concertos ever created.

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James MacMillan (b. 1959): One

Instrumentation: Scored for pairs of oboes, flutes, clarinets, horns, trumpets, timpani and strings Duration: Approximately 3 minutes The concept of Klangfarbenmelodie, literally tone-colormelody, was championed by Arnold Schoenberg and his student Anton Webern in Vienna during the opening decades of the 20th century. The idea was to explore color throughout the orchestra, in contrast to the emphasis on melody or rhythm, music’s dominant features for centuries.

Sir James MacMillan’s One, from 2012, is an exemplary study in orchestral tone color. In fact, there is never more than a single audible line (hence the work’s title), from the opening indigenous-sounding flute solo to the eventual addition of timpani or strumming violins. All dovetail one into another in unison until the very last bars, at which point this Scottish master peels back the curtain ever so quickly, as if to assure us that there were chordal options all along!

Felix Mendelssohn (1809-1847): Symphony No. 5 in D Major “Reformation”

Instrumentation: Scored for pairs of flutes, oboes, clarinets, bassoons and contrabassoon, two horns, two trumpets, three trombones and timpani Duration: 27 minutes Few composers have enjoyed the cultural and material privileges afforded the Mendelssohn children. Their father was a banker, their grandfather the great Jewish philosopher Moses Mendelssohn, and their mother’s family patrons and acquaintances of Mozart. At home, the children’s formidable artistic gifts were strongly fostered.

By the age of 18, Felix could compose as well or better than most composers twice his age. His sister, Fanny, was also a precocious musical talent, and their brother Paul a cellist.

There was art, theater—the children constantly wrote and put on plays—and tremendous intellectual life in general.

Guests to their home included mathematicians, scientists, and philosophers—“Europe,” it has been said, “came to their living room.”

Yet, for all their connections, or perhaps because of them, Felix’s parents decided to break with their Jewish ancestry.

Baptized and raised without a religious education, Felix became a member of the Reformed church, and this factor eventually led him to accept a commission to compose a “Symphony to Celebrate the Church Revolution.” The

occasion was the 300th anniversary of Martin Luther’s famous Augsburg Confession, which was to be feted in June of 1830, though the celebration was subsequently canceled on account of rising political tensions in Europe.

The planned Paris premiere two years later was also scrubbed when the players rejected Mendelssohn’s score.

The composer, among Europe’s elite conductors, ended up directing the first performance in Berlin.

The symphony opens with a stately, solemn introduction featuring a clarion call and, twice towards its conclusion, a cadential formula known as the “Dresden Amen,” a series of six rising notes associated with Dresden (Catholic!) church services (those familiar with the operas of Richard Wagner will recognize this gesture in Parsifal). The Allegro proper is dark and unsettling because of its minor mode and agitated sixteenth-note passagework, dispatched relentlessly by the violins. The movement draws increasingly on the clarion call from the introduction and the Dresden Amen, which keeps the increasing unrest in check. The two movements that follow are far less serious in intent. A jaunty scherzo follows first, providing a welcome foil to the seriousness that preceded it. The pastoral section at its center adds further buoyancy with its absolutely charming wind-dominated writing. There follows an all-too-brief Andante, constructed in A-B-A song form, an arioso in all but words, its languishing, searching melody sung by the violins. The benedictory mood at its close gives way to a flute solo, Martin Luther’s universally known chorale Ein feste Burg ist unser Gott (“A Mighty Fortress is our God”). Note how exquisitely Mendelssohn varies the chorale repetition—such moments make it clear why his scores remain models for orchestration classes to this day.

The finale is a tour de force of formal mastery.

Mendelssohn twice bumps up the tempo, first re-inventing the chorale (still more miraculously orchestrated) and then introducing a rocketing arpeggio figure, deftly weaving the chorale in and out of the texture. Following the cello and clarinet reinventions of the chorale comes an extended passage of “learned” counterpoint—voices operating relatively independent of one another, a technique common to Bach and the Baroque and which raised the hackles of the Parisian orchestra— extremely intricate part writing that will soon serve as the accompaniment of the chorale. And finally, the earlier “learned” contrapuntal style is subsequently subsumed

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by the Lutheran chorale. As a Protestant, Mendelssohn sought to defend his faith in sound, his score ultimately celebrating the triumph of Protestantism.

Whatever the message, Mendelssohn was actually far from satisfied with the final results. He not only withdrew the work from publication but requested that the music be burned (which it thankfully was not). It was finally published posthumously in 1868, as his 5th Symphony, despite being the second composed. We can perhaps appreciate the composer’s dissatisfaction with his score, given its lack of cohesion and imbalance, particularly when one compares the religious/serious content of the outer movements to the spirited scherzo and gracious Andante at its center. Still, for all its unusual qualities, the symphony remains an exquisitely crafted work containing moments of genuine inspiration—the final three minutes alone are among the most thrilling in the repertoire. In the end, the Reformation remains a glorious experience, and regardless of one’s religious beliefs, Mendelssohn’s achievement reaffirms our own faith in the power of music. © Marc Moskovitz www.marcmoskovitz.com

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

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Meet the Musicians

Katherine McLin

concertmaster, 23 years The Donald G. Dunn Chair Current Residence: Phoenix, AZ

Amy Cave

violin, 8 years The Randy & Marilyn Miller Chair Current Residence: Cleveland, OH

Solomon Liang

violin, 4 years The Laurie & Thomas W. Hill Chair Current Residence: Columbus, OH

Rebecca Willie

assistant concertmaster, 8 years The Joan M. Herbers Chair Current Residence: Greensboro, NC

Eric Kline

violin, 11 years The Jim & Ida Copenhaver Ginter Chair Current Residence: Pickerington, OH

William Manley

violin, 17 years The Fran Luckoff Chair Current Residence: Columbus, OH

Jennifer Ross

principal second, 5 years The Brachman Smith Family Chair Current Residence: Jackson, WY

Heather Kufchak

violin, 12 years The Deborah Raita Chair Current Residence: Ashland, OH

Victoria Moreira

violin, 8 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, 5 years The Elizabeth Williams Chair Current Residence: Columbus, OH

Mary Harris

viola, 27 years The Margaret & Jerome Cunningham Chair Current Residence: Oxford, OH

Marc Moskovitz

principal cello, 28 years The Barbara Trueman Chair Current Residence: Durham, NC

John Pellegrino

principal double bass, 11 years The John F. Brownley Chair Current Residence: Columbus, OH

Donna Conaty

principal oboe, 33 years The Lee Shackelford Chair Current Residence: Santa Cruz, CA

Brett Allen

viola, 12 years The Keith F. and Katherine B. Dufrane Trust Chair Current Residence: Columbus, OH

Cora Kuyvenhoven

cello, 22 years The Bob & Mary Frances Restrepo Chair Current Residence: Columbus, OH

Patrick Bilanchone*

double bass, 6 years The Kathryn D. Sullivan Chair Current Residence: Jacksonville, FL

Jessica Smithorn

Stephen Goist

Michael Isaac Strauss

viola, 8 years The Regie & David Powell Chair Current Residence: New York, NY

viola, 7 years The Anne Powell Riley Chair Current Residence: Oberlin, OH

Nat Chaitkin

Joel Becktell

cello, 15 years The William K. Laidlaw Chair Current Residence: Cincinnati, OH

Nadine Hur

principal flute, 2 years The Dana Navin Schultz Chair Current Residence: St. Louis, MO

Ilya Shterenberg

oboe, 4 years principal clarinet, 5 years The Artie & Alisa Isaac Chair The Beth Grimes-Flood & Tom Flood Chair 2 0 2 2 - 2 3 S E A S O N | promusicacolumbus.org Current Residence: Chattanooga, TN Current Residence: San Antonio, TX

cello, 14 years The Donna K. Laidlaw Chair Current Residence: Albuquerque, NM

Anthony Trionfo+

flute, 2 years The Miriam & Bernard Yenkin Chair Current Residence: New York, NY

Jennifer Magistrelli

clarinet, 11 years The Jack & Betsy Farrar Chair Current Residence: Richfield, OH

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Ellen Connors

principal bassoon, 12 years The Loann W. Crane Chair Current Residence: St. Louis, MO

Timothy Leasure

trumpet, 19 years The William & Wendy Faust Chair Current Residence: Pickerington, OH

Jeanne Norton

principal harp, 43 years The Sustaining Board Chair Current Residence: Columbus, OH

Rachael Young

bassoon, 7 years The Carolyn Merry & Bob Redfield Chair Current Residence: Cincinnati, OH

Renee Keller

principal timpani and percussion, 9 years The Michael & Jody Croley Jones Chair Current Residence: Lima, OH

Aya Hamada

principal harpsichord/keyboard, 18 years The ProMusica Board Chair in memory of Ida Copenhaver Current Residence: New York, NY

+ one-year appointment * on leave for the 2022-23 season

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Stephanie Blaha

principal horn, 5 years The Todd S. Swatsler Chair Current Residence: Wadsworth, OH

Rajesh Prasad

percussion, 9 years The Bob Redfield & Mary Yerina Chair Current Residence: Raleigh, NC

2021-2022 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 The Dunn Family Ida Copenhaver and Jim Ginter Joan Herbers Helen Liebman and Tom Battenberg The Richard M. Ross, Jr. Family Kathryn Sullivan Todd Swatsler Barbara Trueman Miriam and Bernie Yenkin Anonymous Support from Corporations, Foundations & Public Agency Funds American Electric Power Cardinal Health Kenneth L. Coe and Jack Barrow Fund of The Columbus Foundation CoverMyMeds LLC The Crane Family Foundation The Fox Foundation Greater Columbus Arts Council Ingram-White Castle Foundation L Brands Nationwide Ohio Arts Council ProMusica Sustaining Board The Reinberger Foundation The Shackelford Family Fund of The Columbus Foundation The Siemer Family Foundation SPECIAL GIFTS In Memory of Donald Dunn DGD Group

ENCORE $5,000 - $9,999 Gifts from Individuals George Barrett Lauren Bonfield and Stephen Keyes John F. Brownley The Michael and Paige Crane Fund of The Columbus Foundation The Crowley Family Charitable Fund Keith Dufrane Betsy and Jack Farrar Beth Grimes-Flood and Tom Flood Jody Croley Jones and Mike Jones Suzanne Karpus Donna Laidlaw Regie and David Powell The Quintenz Family Mary Frances and Bob Restrepo Anne Powell Riley Dana Navin Schultz and Hugh Schultz Mary Yerina and Bob Redfield Anonymous Support from Corporations & Foundations The George Foundation Huntington Key Bank The Hattie and Robert Lazarus Fund of The Columbus Foundation PNC Vorys, Sater, Seymour and Pease LLP SYMPHONY $3,000 - $4,999 Gifts from Individuals Barry Blank Wendy and Bill Faust Anne and Matthew Fornshell Dr. Dara and Mark Gillis Laurie and Thomas Hill

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Artie and Alisa Isaac – Yellow Springs Community Foundation Susan Johnson Drs. Bill Mitchell and Wayne Lawson The Mary and Robert Lazarus Fund of The Columbus Foundation Fran Luckoff Nancy Marzella Marilyn and Randy Miller Deborah Raita David Schooler Sallie Joyce Sherman Kara Trott and Bob Philips Dyann and Joel Wesp Elizabeth Williams Anonymous Support from Corporations, Foundations & Public Agency Funds City of Columbus Recreation and Parks Department Florence E. K. Hurd Fund of The Columbus Foundation Porter, Wright, Morris & Arthur LLP Yenkin-Majestic Paint SPECIAL GIFTS In Memory of Pamela Romeo Elliott James Elliott In Honor of Pat Garavito Cardinal Health CONCERTO $2,000 - $2,999 Gifts from Individuals Lynn and Paul Blower Catherine and John Brody Mary and Steve Burkey John and Trish Cadwallader Peter and Jayne Wenner Costanza

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Lynn Elliott Adam and Kate Ferguson Pat and Darla Garavito Doug and Monica Kridler Ruth Lantz Susan and Barry Lubow Jessica Mrowzinski Nancy and Ray Traub Support from Corporations & Foundations BakerHostetler Henry W. & Martha L. Bruner Philanthropic Fund at the Buffalo Community Foundation English Family Foundation Genworth Foundation SPECIAL GIFTS In Memory of Frances N. Lazarus Peggy Lazarus RHAPSODY $1,000 - $1,999 Gifts from Individuals Julia and Milt Baughman Sally and Roger Baughman Pamela and John Beeler Evelyn Behm Linda Blumenthal Yvonne and Richard Burry Janet Chen and Rick Buchanan Mary Jo Conte Mark and Mindy Corna Patt and Chuck DeRousie Bebe and John F. Finn Dona Fling Linda and Bill Habig Steven Hillyer Pam Hussen and Patrick Vincent Patricia and Brent Jackson The Josenhans Family Fund of The Columbus Foundation George F. Knight Elliott S. Luckoff Margaret A. Malone Nichole and Kenny Marshall Susan and Bill McDonough Patrick Ross Julie and Bob Rutter Elizabeth Sawyers Doug and Ann Teske Gail Walter and Allen Proctor

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Roger and Sue Whitaker John and Sherry Young Anonymous SPECIAL GIFTS In Honor of Janet Chen Sherri Geldin In Memory of George Corey Georgeann Corey In Memory of Donald Dunn Mary and William Vorys In Memory of Allene N. Gilman Allene N. Gilman Charitable Trust In Honor of Dave Humeston McKesson In Memory of Ardella Mae Posey Annegreth T. Nill and Bruce C. Posey SONATA $500 - $999 Gifts from Individuals Robert Allen and Diane Weaver Katherine Borst Jones Barbara and David Brandt Earl Busenberg Robert Byrd Pat Cash Isaacson and Jack Isaacson Bob and Julie Connors Esther Connors Saundra Dombey Cooke William and Christine Farquhar Cornelia Ferguson Barbara and Gary Giller Patricia Barnes Hadler Sheryl Hansen Neal Hauschild and Jeff Ramm Joshua and Brandy Hill Ann and James A. Jones Ira and Debby Kane Joyce and Willem Kogeler Charlie and Linda Kurtz Clara Lee and Bill Miller Susan and Douglas Levin Mary Pat Martin and Rick Livingston Susan C. Meiling Christine and Kirk Merritt Larry and Peg Neal Gerald and Ann Newsom

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Ruth Paulson Angela and John Petro Sue Porter and Mike Sayre Anne Skaggs Judi and James Stillwell Ed and Nancy Strause Fund at The Columbus Foundation Tom Szykowny and Susan Dutton Anonymous Support from Foundations Lewin Family/Hamilton Parker Foundation SPECIAL GIFTS In Honor of Janet Chen Gerald Maloney In Memory of Alfred B. Strickler The Strickler Family Fund of The Columbus Foundation OVERTURE $250 - $499 Gifts from Individuals George and Vanessa Arnold Maceo and Rhonda Bates Steve Bigley and Rebecca Roeder Constance Bodiker Judith and Merom Brachman Herbert Bresler and Cheryl Vaia Greg and Kim Bryan Cherubino Daniel and Christina Crane Cindy and John Deliman Laura and Pat Ecklar Amy Thompson and Stephen Fechtor Mabel Freeman Melissa and Herb Hedden Ann and Thomas E. Hoaglin George and Marilyn Hoeflinger Brian Houts Deborah and Douglas King Sharon Kokot Christine Kullberg and Meri Brace Ursula and Wolfgang Kunze Matthew Kurk and Nicole Kessler Jennifer and William Markovich Harry Pukay-Martin Jane McMaster Dixie Sayre Miller Fund of The Columbus Foundation Mark L. Miller

Bryan and Marlene Hartzler David Hedgecoth Rose Hume and Jim Dunn Sarah Irvin Clark Dr. Terri Jones Constance Jump Gale and Steve Klayman Katie Kuvin Barbara and David Lambert Syd Lifshin Philip Lortz Mary Frances Macioce Marybeth McDonald Joyce and Sean McKinniss PRELUDE Daniel L. and M. Kathleen Moore $100 - $249 Laura Moorman Gifts from Individuals Marilyn and Robert Nims Mary Ann and Michael Abrams Julia Noulin-Merat Jane and Stan Ackley Sue and Howard Petricoff Ronald Bell Bryant and Sandra Riley Michael L. Benedict Julie Robbins Jane Blank Sharon Sachs and Donn Vickers Dr. Tom and Penny Boes Lyle Saylor Ann Brace and Lawrence Herman Paulette Schmidt Henry Brecher Lucas Schrader and Liz Jaggers Miriam Brierley Gary and Beth Schwarzmueller Susan Brown Stacie and Mark Sholl Michael Burton Marcia Katz Slotnick David and Lucy Buzzee Amina and Dino Smajlovic Alan Carter Ron Smith Carol Chaitkin Rose Sobel Willkie Cirker and Sharon Hammersley Jeff and Peggy Sutton Briana, Brenden, and Giani Colvin Robin Vachon-Kraut Bonita B. Covel Larry Cunningham and Elizabeth Jeffries Betsy and Charles Warner Lillian Webb Betsy and Nick DeFusco Bernice and Chuck White Erik and Annabel Edwards Patricia M. M. Wiedner Todd A. Ehninger Robert Wing Linda Fedak and Blake Getson Worthington Hills Women’s Club Fonda Fichthorn Anonymous Judy and Ted Fisher Gary Flach This list includes contributions made to Linda Fowler ProMusica for the period of July 1, 2021 Karen and Ben Freudenreich to June 30, 2022. Every effort has been Brian Fruchey made to ensure accuracy. However, Vanessa and Michael Fuson in listings of this length, errors and Tom and Kim Gattis omissions may occur. If your name Laura and Eric Geil has been omitted, or listed incorrectly, Nick and Debbie Geldis we sincerely apologize. Please let Nelson and Carole Genshaft us know so that we may correct our Patricia Gold records and this listing. Thank you.

David S. Guion Ruth Guzner Karen and Neil Moss Elizabeth and Kulu Moyo Maureen Mugavin and Michael Fiske Linda Roomann and William Slutz Sadie and Seyman Stern Ella Uretsky John and Deborah Urton Adam Wagenbach and Kathleen Murphy Margie and Thomas Williams Leslie Yenkin and Jonathan Petuchowski Anonymous

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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 2021-2022 giving year (July 1, 2021 – June 30, 2022).

In Honor of Janet Chen Carol A. McGuire

Fahlgren Mortine Elliott Farkas Betsy and Jack Farrar In Memory of Ida Copenhaver Allison Fulford Molly and Brian Snell James Garland and Carol Andreae Beth Grimes-Flood and Tom Flood In Memory of Loann Crane Jim Ginter Barbara and David Brandt Mitch and Chris Grindley Georgeann Corey Sue and James Gross Ruth Guzner Bill Habelow Peggy Lazarus Sandy and Robin Harbrecht The Markus Family Sharon Hays Colleen Nissl and Roger Sugarman Laurie and Thomas Hill Elizabeth Williams Ann and Thomas E. Hoaglin Anonymous The Hondros Family Leslie Huntington In Memory of Donald Dunn Suzanne Karpus Julia and Milt Baughman Donna and Richard Larkin Adam Bell Mary Lazarus Beverly Bell Peggy Lazarus Phil and Ann Bickel Andrew and Amy Lester A.L.P. and the Brown Family Larry and Jared Levinson John F. Brownley Alex and Katie Marsh Nancy and George Byers Nancy Marzella Leonard and Gail Calodney Robert and Judith Meyer Marilyn and Martin Campbell Marcia Miller Bill Casto Marilyn and Randy Miller David and Annjia Chan Elizabeth and Tom Mitevski Janet Chen and Rick Buchanan Rhonda and Michael Murnane Albert and Judy Clovis Norma Palmer Sarah Crane Cox Ann and Ron Pizzuti Beth Crane and Richard McKee Pritzker Private Capital Michael and Paige Crane Susan and Ken Quintenz William and Christine Dargusch Cordelia Robinson Ron and Jill Dean Alex and Marty Ross Laura Dehelendorf and Lane and John Rothschild Jameson Crane Thomas and Lynn Ryan Keith Dennis Bill and Shari Schwartz Grant and Susan Douglass Mr. and Mrs. Zuheir Sofia Mr. and Mrs. James R. Dunn Thomas Szykowny and Beverley Ervine and Susan Dutton Boyce Lancaster

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Truck Hero Webb and Liz Vorys Troy Walters Owen and Martha Whitfield Elizabeth Williams, Columbus, OH Elizabeth Williams, Superior, CO Margie and Thomas Williams Frank and Carol Wojcik Ellen Yen Mary Yerina and Bob Redfield John Zambito Cheryl and John Zeiger Anonymous

Navin Schultz Mrs. Mark Federer Beverley Ervine and Boyce Lancaster Linda Larrimer Sally and Neil Larrimer Allen Baker and Al Waddell

In Honor of Suzanne Karpus Mary Lazarus

In Memory of Edward Tausk Melva Fisher

In Memory of Janet Adele Lancaster Goring Boyce D. Lancaster

The Estate of Tydvil Thomas

In Memory of Larry Lannison Laurie and Thomas Hill In Honor of Peggy Lazarus Mary Lazarus Bobbi and Rob Lucas Susan and Ken Quintenz Elizabeth Williams In Memory of Fran Luckoff Visiting Angels Columbus Anonymous In Honor of Susan and Bill McDonough Sheila Kroos In Honor of Katherine McLin Gary and Sara Gislason In Memory of Dana

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In Honor of Gavin Sebastian Gail and James Lowe In Honor of Lee Shackelford Patti Shorr

In Honor of Susan Quintenz Elizabeth Williams Ellen Yen In Memory of Marvin W. Wente Lisa Wente In Memory of Andi Wobst Jeney Donald G. Dunn For more information on making a perpetual gift to the ProMusica Endowment Fund, please contact the ProMusica Development Office at 614.464.0066 ext. 104.

Play Us Forward Donors ProMusica thanks the following who have generously donated an instrument or contributed to help fund our “Play Us Forward” outreach program. Support for “Play Us Forward” helps provide musical instruments, instruction, and enrichment activities to 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 2021-2022 school year.

INDIVIDUALS James Anderson Tara Buckwalter Robert Byrd Prasad Chirumamilla Georgeann Corey Peter Craigmile Meghan Domeck Dorie and Michael Greenspan Joy and Michael Gonsiorowski Sheryl Hansen Steven Hillyer Susanne Jaffe Jody Croley Jones and Mike Jones James Knippenberg Barbara and David Lambert Rashmi Nemade Mary Robins Arlene Roth Jennifer and Daniel Shively Kevin A. Smith

SPECIAL GIFTS In Honor of Barbara Fergus Peggy Lazarus Susan Quintenz In Honor of Peggy Lazarus Ellen Bowden SUPPORT FROM CORPORATIONS, FOUNDATIONS & PUBLIC AGENCY FUNDS CoverMyMeds LLC Huntington Ingram-White Castle Foundation Key Bank The Hattie and Robert Lazarus Fund of The Columbus Foundation The Loft Violin Shop Ohio Arts Council ProMusica Sustaining Board Puffin Foundation West

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An

elevated experience

now 28 stories higher.

Located in the heart of the Short North Arts District, Hilton Columbus Downtown welcomes you to the newest addition to the Columbus skyline, making the hotel the largest in Ohio with nearly 1,000 rooms.

Hilton Columbus Downtown now offers four new food & beverage outlets, including the signature live-fire restaurant FYR, FYR, a rooftop lounge, Stories on High, High, sitting 28 stories Stories on over High Street (coming fall 2022), Spark, Spark, featuring Midwestern fare and classic cocktails, and The Market, a grab-and-go The Market, option offering salads, sandwiches and sundries.

402 N. High Street Columbus, OH 43215 hiltoncolumbusdowntown.com

Hilton Columbus Downtown is a proud supporter of ProMusica Chamber Orchestra!

Porter Wright is proud to support ProMusica Chamber Orchestra and its dedication to providing innovative, engaging and inspiring musical experiences.

Photo: NICEPHORE PRODUCTIONS

SEASON SUPPORT

MEDIA SPONSOR

 614.464.0066 • www.promusicacolumbus.org