ProMusica Dec 2019-Jan 2020 Program Book

201 9­–2 020 S E AS O N CO N C ERT PRO G R A M

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

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

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

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

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

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

MESSIAH-SING-ALONG Biography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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

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

Text of Messiah. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

SOUNDS OF THE SEASON Biography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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

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

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

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

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

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

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

MEET THE MUSICIANS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

FINANCIAL SUPPORT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

SEASON SUPPORT SEASON PARTNERS ProMusica Chamber Orchestra 620 East Broad Street – Suite 300, Columbus, OH 43215 614.464.0066 • www.promusicacolumbus.org

Program Design:

Orchestra & Musician photos:

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

4 6 7 8 10 1 5 23 24 25 26 28 30 31 32 36 38 39 40 44 49

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

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

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

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

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

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

MESSIAH-SING-ALONG Biography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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

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

Text of Messiah. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

SOUNDS OF THE SEASON Biography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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

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

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

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

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

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

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

MEET THE MUSICIANS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

FINANCIAL SUPPORT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

SEASON SUPPORT SEASON PARTNERS ProMusica Chamber Orchestra 620 East Broad Street – Suite 300, Columbus, OH 43215 614.464.0066 • www.promusicacolumbus.org

Program Design:

Orchestra & Musician photos:

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

4 6 7 8 10 1 5 23 24 25 26 28 30 31 32 36 38 39 40 44 49

Chief Executive Officer Dear Friends:

Photo: Rick Buchanan Photography

From the

Welcome to our 2019-20 season!

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

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

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

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

Sincerely,

Janet Chen

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

Born in America and raised in Taiwan, Janet Chen has led an active and diverse career as a performing musician, arts administrator, and music educator. She holds a bachelor's degree from the Oberlin Conservatory of Music and a master's degree in flute performance from the University of Cincinnati College-Conservatory of Music. She completed the Executive Program for Nonprofit Leaders in the Arts — a joint program of the Stanford Graduate School of Business and National Arts Strategies; and also participated in the Executive Fellowship Program with the Jefferson Center Academy for Leadership and Governance. Since 2006, Janet has served as Executive Director of ProMusica. In 2018, she was one of ten members representing Columbus at the Young American Leaders Program at the Harvard Business School. She was selected as one of Columbus Business First’s “Forty Under 40” and one of “19 Non-profit Innovators” by CityPulse Columbus. Janet has been featured in Columbus CEO Magazine, The Columbus Dispatch, and is a featured artist as part of Columbus, Ohio’s “Art Makes Columbus” marketing campaign.

In 2018, she was named a YWCA Columbus Woman of Achievement and honored by Columbus Business First as one of the “Most Admired Executives in Central Ohio.” Janet serves on the Board of the Columbus Music Commission and is a member of the Columbus Cultural Leadership Consortium.

Prior to joining ProMusica, Janet served as Assistant Principal Flute with the Taipei Symphony Orchestra in Taipei, Taiwan and appeared as guest soloist several times. Janet spent two summers as a flute instructor at the Interlochen Center for the Arts in Michigan, where she coached and taught students who attended the Interlochen Summer Arts Camp.

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2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

ubs.com/team/corgroup

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

Chief Executive Officer Dear Friends:

Photo: Rick Buchanan Photography

From the

Welcome to our 2019-20 season!

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

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

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

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

Sincerely,

Janet Chen

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

Born in America and raised in Taiwan, Janet Chen has led an active and diverse career as a performing musician, arts administrator, and music educator. She holds a bachelor's degree from the Oberlin Conservatory of Music and a master's degree in flute performance from the University of Cincinnati College-Conservatory of Music. She completed the Executive Program for Nonprofit Leaders in the Arts — a joint program of the Stanford Graduate School of Business and National Arts Strategies; and also participated in the Executive Fellowship Program with the Jefferson Center Academy for Leadership and Governance. Since 2006, Janet has served as Executive Director of ProMusica. In 2018, she was one of ten members representing Columbus at the Young American Leaders Program at the Harvard Business School. She was selected as one of Columbus Business First’s “Forty Under 40” and one of “19 Non-profit Innovators” by CityPulse Columbus. Janet has been featured in Columbus CEO Magazine, The Columbus Dispatch, and is a featured artist as part of Columbus, Ohio’s “Art Makes Columbus” marketing campaign.

In 2018, she was named a YWCA Columbus Woman of Achievement and honored by Columbus Business First as one of the “Most Admired Executives in Central Ohio.” Janet serves on the Board of the Columbus Music Commission and is a member of the Columbus Cultural Leadership Consortium.

Prior to joining ProMusica, Janet served as Assistant Principal Flute with the Taipei Symphony Orchestra in Taipei, Taiwan and appeared as guest soloist several times. Janet spent two summers as a flute instructor at the Interlochen Center for the Arts in Michigan, where she coached and taught students who attended the Interlochen Summer Arts Camp.

4

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

ubs.com/team/corgroup

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

David Danzmayr

“ The performance was an unmitigated triumph.”

Michael Tumelty, The Herald

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

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

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

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

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

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

for orchestras around the globe, having worked in Europe with the Deutsche Kammerphilharmonie Bremen, Vienna Radio, Stuttgart Radio, City of Birmingham, Hamburg, Basel, Bamberg, Odense, and Iceland symphonies, as well as Essener Philharmoniker, Bruckner Orchester, Mozarteum Orchester, Swedish Chamber Orchestra and others.

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

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

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

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

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

“Clearly Danzmayr has what it takes.”

–John von Rhein, Chicago Tribune

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

6

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

Photo: Marco Borggreve

Photo: Rick Buchanan Photography

The Elizabeth M. Ross Music Director

Creative Partner & Principal Guest Artist

Vadim Gluzman

Universally recognized among today’s top performing artists, Vadim Gluzman brings to life the glorious violinistic tradition of the 19th and 20th centuries. Gluzman’s wide repertoire embraces new music and his performances are heard around the world through live broadcasts and a striking catalogue of award-winning recordings exclusively for the BIS label.

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

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

Accolades for his extensive discography include the Diapason d’Or of the Year, Gramophone’s Editor’s Choice, Classica magazine’s Choc de Classica award, and Disc of the Month

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

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

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

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

7

David Danzmayr

“ The performance was an unmitigated triumph.”

Michael Tumelty, The Herald

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

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

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

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

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

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

for orchestras around the globe, having worked in Europe with the Deutsche Kammerphilharmonie Bremen, Vienna Radio, Stuttgart Radio, City of Birmingham, Hamburg, Basel, Bamberg, Odense, and Iceland symphonies, as well as Essener Philharmoniker, Bruckner Orchester, Mozarteum Orchester, Swedish Chamber Orchestra and others.

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

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

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

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

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

“Clearly Danzmayr has what it takes.”

–John von Rhein, Chicago Tribune

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

6

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

Photo: Marco Borggreve

Photo: Rick Buchanan Photography

The Elizabeth M. Ross Music Director

Creative Partner & Principal Guest Artist

Vadim Gluzman

Universally recognized among today’s top performing artists, Vadim Gluzman brings to life the glorious violinistic tradition of the 19th and 20th centuries. Gluzman’s wide repertoire embraces new music and his performances are heard around the world through live broadcasts and a striking catalogue of award-winning recordings exclusively for the BIS label.

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

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

Accolades for his extensive discography include the Diapason d’Or of the Year, Gramophone’s Editor’s Choice, Classica magazine’s Choc de Classica award, and Disc of the Month

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

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

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

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

7

Photo: Rick Buchanan Photography

OUR MISSION

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

About the Orchestra 8

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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

collaborations with crossover artists including Jon Batiste, Steep Canyon Rangers, Time for Three, Ricky Skaggs & Kentucky Thunder, and Bela Fleck and the Flecktones. This is all a testament to the world-class musicians on stage who thrive on artistic exploration and risk-taking — performing with the highest skill, emotion and humanity for our audiences.

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

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

by The Columbus Foundation.

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

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

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

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

9

Photo: Rick Buchanan Photography

OUR MISSION

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

About the Orchestra 8

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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

collaborations with crossover artists including Jon Batiste, Steep Canyon Rangers, Time for Three, Ricky Skaggs & Kentucky Thunder, and Bela Fleck and the Flecktones. This is all a testament to the world-class musicians on stage who thrive on artistic exploration and risk-taking — performing with the highest skill, emotion and humanity for our audiences.

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

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

by The Columbus Foundation.

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

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

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

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

9

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

We kindly request your cell phones and/or other electronic devices are silenced before the concert begins. Photographing, videotaping, or sound recording of any performance without prior authorization from ProMusica is strictly prohibited.

Concessions are available inside the front doors to the left.

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

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

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

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

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

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

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

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

Discounted Group Rates are available.

Call 614.464.0066 for pricing and additional information.

Student Tickets are available for $11 through the ProMusica office.

Upcoming Events

–202 0200SSEEAASSOONN 22001199-2

SUBSCRIPTION SERIES

WORTHINGTON SERIES

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

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

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

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

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

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

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

promusicacolumbus.org

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.

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

11

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

We kindly request your cell phones and/or other electronic devices are silenced before the concert begins. Photographing, videotaping, or sound recording of any performance without prior authorization from ProMusica is strictly prohibited.

Concessions are available inside the front doors to the left.

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

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

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

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

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

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

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

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

Discounted Group Rates are available.

Call 614.464.0066 for pricing and additional information.

Student Tickets are available for $11 through the ProMusica office.

Upcoming Events

–202 0200SSEEAASSOONN 22001199-2

SUBSCRIPTION SERIES

WORTHINGTON SERIES

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

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

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

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

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

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

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

promusicacolumbus.org

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.

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

11

SCHOOL OF MUSIC

WISHING YOU A FANTASTIC SEASON, PROMUSICA!

We proudly acknowledge ProMusica Chamber Orchestra members

FACULTY Robert Gillespie • Timothy Leasure • Jeanne Norton

2019–20 HIGHLIGHTS

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

music.osu.edu PromusicaAd-2019.indd 1

8/21/19

Proudly supports ProMusica Chamber Orchestra.

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

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

SCHOOL OF MUSIC

WISHING YOU A FANTASTIC SEASON, PROMUSICA!

We proudly acknowledge ProMusica Chamber Orchestra members

FACULTY Robert Gillespie • Timothy Leasure • Jeanne Norton

2019–20 HIGHLIGHTS

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

music.osu.edu PromusicaAd-2019.indd 1

8/21/19

Proudly supports ProMusica Chamber Orchestra.

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

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

Board of Trustees and Administration

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

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

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

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

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

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

keglerbrown.com/involvement 2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

15

Board of Trustees and Administration

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

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

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

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

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

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

keglerbrown.com/involvement 2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

15

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

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

Our commitment to the arts We are proud to support the ProMusica Chamber Orchestra.

When superb professionals work in concert, amazing things happen. bakerlaw.com

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

Michael Maggard Treasurer

CONCERTMASTER MEMBERS

Claudia Abrams Past President

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

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

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

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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

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

17

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

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

Our commitment to the arts We are proud to support the ProMusica Chamber Orchestra.

When superb professionals work in concert, amazing things happen. bakerlaw.com

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

Michael Maggard Treasurer

CONCERTMASTER MEMBERS

Claudia Abrams Past President

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

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

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

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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

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

17

EST. 1976

The Loft Violin Shop Old World Craftsmanship, Quality, & Service

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.

attorney advertising material

300+ lawyers in Columbus & other offices

Providing quality orchestral string instrument repairs, rentals, and sales for over 43 years.

Learn more at: theloftviolinshop.com 614.267.7221

EST. 1976

The Loft Violin Shop Old World Craftsmanship, Quality, & Service

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.

attorney advertising material

300+ lawyers in Columbus & other offices

Providing quality orchestral string instrument repairs, rentals, and sales for over 43 years.

Learn more at: theloftviolinshop.com 614.267.7221

Hamilton’s

RENÉE

ELISE GOLDSBERRY at the

2020 SOIRÉE

BENEFIT & CONCERT FEBRUARY 1

Messiah Side-by-Side Sing-Along Host and Guest Conductor

William L. Ballenger William L. Ballenger serves as Director of the School of Music at The Ohio State University. Prior to his appointment at OSU, he served for thirteen years as Director of the School of Music at Texas Tech University, and twelve years as Department Head of Music at Oklahoma State University. Previous academic appointments include Associate Director of Bands at Oklahoma State University, Associate Director of Bands at the University of Nebraska-Lincoln, and public-school teaching positions in Ankeny and Oskaloosa school districts in Iowa.

Professor Ballenger currently serves as Vice President for the Ohio Association of Music Schools (OAMS) and is Secretary for Region 5 of the National Association of Schools of Music (NASM.) He also serves on the Board of Directors for the Friends of WOSU Public Media and the Columbus Children’s Choir.

In 2012 and 2013, Professor Ballenger served as President of the Texas Association of Music Schools (TAMS). Previous leadership appointments include TAMS Director of the four-year statesupported schools, and President of the Oklahoma Association of Music Schools. Past NASM appointments include Chair and Vice Chair of Region 9, Chair of the Ethics Committee, and Chair of the Nominating Committee.

Recent honors and awards include the William D. Kerns Award for the Performing Arts (2013), presented by Louise Hopkins Underwood Center for the Arts; and in May 2017, the Texas Tech University Board of Regents renamed the TTU concert hall organ the “Great Ballenger Holtkamp Organ.”

TICKETS: promusicacolumbus.org | 614.464.0066 2019-20 SEASON | promusicacolumbus.org

23

Hamilton’s

RENÉE

ELISE GOLDSBERRY at the

2020 SOIRÉE

BENEFIT & CONCERT FEBRUARY 1

Messiah Side-by-Side Sing-Along Host and Guest Conductor

William L. Ballenger William L. Ballenger serves as Director of the School of Music at The Ohio State University. Prior to his appointment at OSU, he served for thirteen years as Director of the School of Music at Texas Tech University, and twelve years as Department Head of Music at Oklahoma State University. Previous academic appointments include Associate Director of Bands at Oklahoma State University, Associate Director of Bands at the University of Nebraska-Lincoln, and public-school teaching positions in Ankeny and Oskaloosa school districts in Iowa.

Professor Ballenger currently serves as Vice President for the Ohio Association of Music Schools (OAMS) and is Secretary for Region 5 of the National Association of Schools of Music (NASM.) He also serves on the Board of Directors for the Friends of WOSU Public Media and the Columbus Children’s Choir.

In 2012 and 2013, Professor Ballenger served as President of the Texas Association of Music Schools (TAMS). Previous leadership appointments include TAMS Director of the four-year statesupported schools, and President of the Oklahoma Association of Music Schools. Past NASM appointments include Chair and Vice Chair of Region 9, Chair of the Ethics Committee, and Chair of the Nominating Committee.

Recent honors and awards include the William D. Kerns Award for the Performing Arts (2013), presented by Louise Hopkins Underwood Center for the Arts; and in May 2017, the Texas Tech University Board of Regents renamed the TTU concert hall organ the “Great Ballenger Holtkamp Organ.”

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D AV I D D A N Z M AY R THE ELIZABETH M. ROSS MUSIC DIRECTOR VIOLINS Katherine McLin, concertmaster The Donald G. Dunn Chair Rebecca Willie, assistant concertmaster The Hillsdale Fund Chair Jennifer Ross, principal second The Joan M. Herbers Chair **Amy Cave The Randy & Marilyn Miller Chair Robert Gillespie The Wilson Family Chair Eric Kline T he Jim & Ida Copenhaver Ginter Chair Heather Kufchak The Deborah Raita Chair Solomon Liang The Laurie & Thomas W. Hill Chair William Manley The Fran Luckoff Chair Victoria Moreira The Dyann & E. Joel Wesp Chair Koko Watanabe The Elizabeth Williams Chair VIOLAS Mary Harris, principal The Margaret & Jerome Cunningham Chair **Brett Allen The Jane Werum Chair Stephen Goist The Regie & David Powell Chair Michael Isaac Strauss The Anne Powell Riley Chair VIOLONCELLOS Marc Moskovitz, principal The Barbara Trueman Chair **Joel Becktell The Donna K. Laidlaw Chair Nathaniel Chaitkin The William K. Laidlaw Chair Cora Kuyvenhoven The Bob & Mary Frances Restrepo Chair

BASSES John Pellegrino, principal Patrick Bilanchone The Kathryn D. Sullivan Chair FLUTES Vacant, principal The Dana Navin Schultz Chair Vacant The Miriam & Bernard Yenkin Chair OBOES Donna Conaty, principal The Lee Shackelford Chair Vacant The Artie & Alisa Isaac Chair CLARINETS Ilya Shterenberg, principal T he Beth Grimes-Flood & Tom Flood Chair Jennifer Magistrelli The Robert T. Bennett Chair BASSOONS Ellen Connors, principal The Loann W. Crane Chair Rachael Young The Carolyn Merry & Bob Redfield Chair HORNS Stephanie Blaha, principal The Todd S. Swatsler Chair Vacant The Denise & Barry Blank Chair TRUMPETS Vacant, principal The Susan L. Quintenz Chair Timothy Leasure The William & Wendy Faust Chair

TIMPANI & PERCUSSION Renée 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 Dwight Parry oboe Jessica Smithorn oboe Ted Clark trumpet Vladimir Gebe violin Amanda Grimm viola

Messiah Side-by-Side Sing-Along William L. Ballenger, host and conductor

Southern Theatre // Friday, December 13 // 7:30 PM HANDEL

ORCHESTRA MANAGER Mariana Szalaj The Regie & David Powell Chair

Messiah (1741) P art the First Sinfony/Overture 4. Chorus | And the glory of the Lord shall be revealed 7. Chorus | And He shall purify 9. Chorus | O Thou that tellest good tidings to Zion 12. Chorus | For unto us a Child is born 13. Pifa | …… (Shepherd’s siciliano) 17. Chorus | Glory to God

Part the Second 2 4. Chorus | Surely He hath borne our griefs 25. Chorus | And with His stripes we are healed

Intermission

Intermission lasts 15 minutes

** Begins the alphabetical listing of string players who participate in a system of rotated seating.

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

28. Chorus | He trusted in God that He would deliver Him 33. Chorus | Lift up your heads, O ye gates 44. Chorus | Hallelujah P art the Third

46. Chorus | Since by man came death 51. Chorus | But thanks be to God 53. Chorus | Worthy is the Lamb…Amen

D AV I D D A N Z M AY R THE ELIZABETH M. ROSS MUSIC DIRECTOR VIOLINS Katherine McLin, concertmaster The Donald G. Dunn Chair Rebecca Willie, assistant concertmaster The Hillsdale Fund Chair Jennifer Ross, principal second The Joan M. Herbers Chair **Amy Cave The Randy & Marilyn Miller Chair Robert Gillespie The Wilson Family Chair Eric Kline T he Jim & Ida Copenhaver Ginter Chair Heather Kufchak The Deborah Raita Chair Solomon Liang The Laurie & Thomas W. Hill Chair William Manley The Fran Luckoff Chair Victoria Moreira The Dyann & E. Joel Wesp Chair Koko Watanabe The Elizabeth Williams Chair VIOLAS Mary Harris, principal The Margaret & Jerome Cunningham Chair **Brett Allen The Jane Werum Chair Stephen Goist The Regie & David Powell Chair Michael Isaac Strauss The Anne Powell Riley Chair VIOLONCELLOS Marc Moskovitz, principal The Barbara Trueman Chair **Joel Becktell The Donna K. Laidlaw Chair Nathaniel Chaitkin The William K. Laidlaw Chair Cora Kuyvenhoven The Bob & Mary Frances Restrepo Chair

BASSES John Pellegrino, principal Patrick Bilanchone The Kathryn D. Sullivan Chair FLUTES Vacant, principal The Dana Navin Schultz Chair Vacant The Miriam & Bernard Yenkin Chair OBOES Donna Conaty, principal The Lee Shackelford Chair Vacant The Artie & Alisa Isaac Chair CLARINETS Ilya Shterenberg, principal T he Beth Grimes-Flood & Tom Flood Chair Jennifer Magistrelli The Robert T. Bennett Chair BASSOONS Ellen Connors, principal The Loann W. Crane Chair Rachael Young The Carolyn Merry & Bob Redfield Chair HORNS Stephanie Blaha, principal The Todd S. Swatsler Chair Vacant The Denise & Barry Blank Chair TRUMPETS Vacant, principal The Susan L. Quintenz Chair Timothy Leasure The William & Wendy Faust Chair

TIMPANI & PERCUSSION Renée 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 Dwight Parry oboe Jessica Smithorn oboe Ted Clark trumpet Vladimir Gebe violin Amanda Grimm viola

Messiah Side-by-Side Sing-Along William L. Ballenger, host and conductor

Southern Theatre // Friday, December 13 // 7:30 PM HANDEL

ORCHESTRA MANAGER Mariana Szalaj The Regie & David Powell Chair

Messiah (1741) P art the First Sinfony/Overture 4. Chorus | And the glory of the Lord shall be revealed 7. Chorus | And He shall purify 9. Chorus | O Thou that tellest good tidings to Zion 12. Chorus | For unto us a Child is born 13. Pifa | …… (Shepherd’s siciliano) 17. Chorus | Glory to God

Part the Second 2 4. Chorus | Surely He hath borne our griefs 25. Chorus | And with His stripes we are healed

Intermission

Intermission lasts 15 minutes

** Begins the alphabetical listing of string players who participate in a system of rotated seating.

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

28. Chorus | He trusted in God that He would deliver Him 33. Chorus | Lift up your heads, O ye gates 44. Chorus | Hallelujah P art the Third

46. Chorus | Since by man came death 51. Chorus | But thanks be to God 53. Chorus | Worthy is the Lamb…Amen

Text of Messiah

And without controversy, great is the mystery of Godliness: God was manifested in the Flesh, justified by the Spirit, seen of Angels, preached among the Gentiles, believed on in the world, received up in glory. In whom are hid all the Treasures of Wisdom and Knowledge.

(Preface to the original wordbook, selected by Handel’s librettist, Charles Jennens, 1 Timothy 3:16; Colossians 2:3)

Part the First Sinfony (Overture) 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

9. 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 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 Pifa (Pastoral Symphony) 17. Chorus Glory to God in the highest, and peace on earth, good will towards men.

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Part the Second 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 53:6 25. Chorus And with His stripes we are healed.

Isaiah 53:5 28. Chorus He trusted in God that He would deliver Him; let Him deliver Him, if He delight in Him. Psalm 22:8 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, strong and mighty, the Lord mighty in battle. The Lord of hosts, he is the King of glory.

Psalm 24:7-10 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 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 51. Chorus But thanks be to God, who giveth us the victory through our Lord Jesus Christ.

1 Corinthians 15:57

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 honour, and glory, and blessing. Blessing and honour, 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

Luke 2:14 2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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Text of Messiah

And without controversy, great is the mystery of Godliness: God was manifested in the Flesh, justified by the Spirit, seen of Angels, preached among the Gentiles, believed on in the world, received up in glory. In whom are hid all the Treasures of Wisdom and Knowledge.

(Preface to the original wordbook, selected by Handel’s librettist, Charles Jennens, 1 Timothy 3:16; Colossians 2:3)

Part the First Sinfony (Overture) 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

9. 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 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 Pifa (Pastoral Symphony) 17. Chorus Glory to God in the highest, and peace on earth, good will towards men.

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2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

Part the Second 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 53:6 25. Chorus And with His stripes we are healed.

Isaiah 53:5 28. Chorus He trusted in God that He would deliver Him; let Him deliver Him, if He delight in Him. Psalm 22:8 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, strong and mighty, the Lord mighty in battle. The Lord of hosts, he is the King of glory.

Psalm 24:7-10 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 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 51. Chorus But thanks be to God, who giveth us the victory through our Lord Jesus Christ.

1 Corinthians 15:57

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 honour, and glory, and blessing. Blessing and honour, 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

Luke 2:14 2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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December Guest Artist

Colin Currie

In October 2017 Currie launched Colin Currie Records, in conjunction with LSO Live, as a platform for recording his diverse projects, celebrating the extraordinary developments for percussion music in recent times. The label’s first release was the Colin Currie Group’s debut recording, Steve Reich’s Drumming, which was hailed as “thunderously exciting” (The Times). In October 2018 Currie released the second disc in this catalogue, The Scene of The Crime, with Håkan Hardenberger, the third release following in April 2019 and once again, Colin Currie & Steve Reich Live at Foundation Louis Vuitton featuring the Colin Currie Group.

Photo: Linda Nylund

Colin Currie is a solo and chamber artist at the peak of his powers.

Championing new music at the highest level, he is hailed as being “at the summit of percussion performance today” (Gramophone). Currie is the soloist of choice for many of today’s foremost composers and he performs regularly with the world’s leading orchestras and conductors.

A dynamic and adventurous soloist, Currie’s commitment to commissioning and creating new music was recognised in 2015 by the Royal Philharmonic Society who awarded him the Instrumentalist Award. From his earliest years Currie forged a pioneering path in creating new music for percussion, winning the Royal Philharmonic Society Young Artist Award in 2000 and receiving a Borletti-Buitoni Trust Award in 2005.

Currie has premiered works by composers such as Steve Reich, Elliott Carter, Louis Andriessen, HK Gruber, MarkAnthony Turnage, James MacMillan, Brett Dean, Sir Harrison Birtwistle, Einojuhani Rautavaara, Helen Grime, Jennifer Higdon, Kalevi Aho, Rolf Wallin, Kurt Schwertsik, Andrew Norman, Julia Wolfe and Nico Muhly. Looking ahead, in the coming season Currie will premiere new works by Bruno Mantovani, Luke Bedford and Andy Akiho.

Highlights of Currie’s 2019/20 season include the world premiere of Bruno Mantovani’s Percussion Concerto with the Orchestre Philharmonique de Radio France and Mikko Franck in April 2020. Currie also premieres a new concerto

by Luke Bedford with the Philharmonia Orchestra, and Andy Akiho’s new percussion concerto with the Oregon Symphony Orchestra. Currie performs the UK premiere of Sofia Gubaidulina’s Glorious Percussion at the Edinburgh

International Festival with BBC Scottish Symphony/ Dausgaard and percussionists from the Colin Currie Group. Another major season highlight is Currie’s conducting debut, conducting the Britten Sinfonia in the European premiere of Steve Reich’s Reich/Richter at the Barbican, London, in October 2019.

Currie’s orchestral engagements also include appearances with the Rundfunk-Sinfonieorchester Berlin, MDR Leipzig, Orchestre Philharmonique de Strasbourg, Swedish Chamber and Scottish Chamber Orchestras, Deutsche Staatsphilharmonie Rheinland-Pfalz and Orquesta Filarmónica de Gran Canaria. Currie also collaborates with various chamber partners, including Nicolas Hodges, Antoine Tamestit, the JACK Quartet and his own Colin Currie Quartet, for performances at Vienna Konzerthaus, de Doelen, Wigmore Hall, LSO St Luke’s, Royal Welsh College of Music and Drama, King’s Place and the Southbank Centre.

Currie’s dynamic ensemble the Colin Currie Group was formed in 2006 to celebrate the music of Steve Reich and made its five-star debut at the BBC Proms. Since then, with Reich’s personal endorsement Currie and his ensemble have taken on the role of ambassadors of Drumming, which they have performed at many venues and festivals internationally. The Colin Currie Group return to the Southbank Centre in December 2019 for four sold-out performances of Drumming at the Hayward Gallery, where the work received its world premiere nearly 50 years ago.

Currie is Artist in Association at London’s Southbank Centre, where he was the focus of a major percussion festival Metal Wood Skin in 2014 and continues to perform there every season. www.colincurrie.com

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2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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December Guest Artist

Colin Currie

In October 2017 Currie launched Colin Currie Records, in conjunction with LSO Live, as a platform for recording his diverse projects, celebrating the extraordinary developments for percussion music in recent times. The label’s first release was the Colin Currie Group’s debut recording, Steve Reich’s Drumming, which was hailed as “thunderously exciting” (The Times). In October 2018 Currie released the second disc in this catalogue, The Scene of The Crime, with Håkan Hardenberger, the third release following in April 2019 and once again, Colin Currie & Steve Reich Live at Foundation Louis Vuitton featuring the Colin Currie Group.

Photo: Linda Nylund

Colin Currie is a solo and chamber artist at the peak of his powers.

Championing new music at the highest level, he is hailed as being “at the summit of percussion performance today” (Gramophone). Currie is the soloist of choice for many of today’s foremost composers and he performs regularly with the world’s leading orchestras and conductors.

A dynamic and adventurous soloist, Currie’s commitment to commissioning and creating new music was recognised in 2015 by the Royal Philharmonic Society who awarded him the Instrumentalist Award. From his earliest years Currie forged a pioneering path in creating new music for percussion, winning the Royal Philharmonic Society Young Artist Award in 2000 and receiving a Borletti-Buitoni Trust Award in 2005.

Currie has premiered works by composers such as Steve Reich, Elliott Carter, Louis Andriessen, HK Gruber, MarkAnthony Turnage, James MacMillan, Brett Dean, Sir Harrison Birtwistle, Einojuhani Rautavaara, Helen Grime, Jennifer Higdon, Kalevi Aho, Rolf Wallin, Kurt Schwertsik, Andrew Norman, Julia Wolfe and Nico Muhly. Looking ahead, in the coming season Currie will premiere new works by Bruno Mantovani, Luke Bedford and Andy Akiho.

Highlights of Currie’s 2019/20 season include the world premiere of Bruno Mantovani’s Percussion Concerto with the Orchestre Philharmonique de Radio France and Mikko Franck in April 2020. Currie also premieres a new concerto

by Luke Bedford with the Philharmonia Orchestra, and Andy Akiho’s new percussion concerto with the Oregon Symphony Orchestra. Currie performs the UK premiere of Sofia Gubaidulina’s Glorious Percussion at the Edinburgh

International Festival with BBC Scottish Symphony/ Dausgaard and percussionists from the Colin Currie Group. Another major season highlight is Currie’s conducting debut, conducting the Britten Sinfonia in the European premiere of Steve Reich’s Reich/Richter at the Barbican, London, in October 2019.

Currie’s orchestral engagements also include appearances with the Rundfunk-Sinfonieorchester Berlin, MDR Leipzig, Orchestre Philharmonique de Strasbourg, Swedish Chamber and Scottish Chamber Orchestras, Deutsche Staatsphilharmonie Rheinland-Pfalz and Orquesta Filarmónica de Gran Canaria. Currie also collaborates with various chamber partners, including Nicolas Hodges, Antoine Tamestit, the JACK Quartet and his own Colin Currie Quartet, for performances at Vienna Konzerthaus, de Doelen, Wigmore Hall, LSO St Luke’s, Royal Welsh College of Music and Drama, King’s Place and the Southbank Centre.

Currie’s dynamic ensemble the Colin Currie Group was formed in 2006 to celebrate the music of Steve Reich and made its five-star debut at the BBC Proms. Since then, with Reich’s personal endorsement Currie and his ensemble have taken on the role of ambassadors of Drumming, which they have performed at many venues and festivals internationally. The Colin Currie Group return to the Southbank Centre in December 2019 for four sold-out performances of Drumming at the Hayward Gallery, where the work received its world premiere nearly 50 years ago.

Currie is Artist in Association at London’s Southbank Centre, where he was the focus of a major percussion festival Metal Wood Skin in 2014 and continues to perform there every season. www.colincurrie.com

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2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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D AV I D D A N Z M AY R THE ELIZABETH M. ROSS MUSIC DIRECTOR VIOLINS Katherine McLin, concertmaster The Donald G. Dunn Chair Rebecca Willie, assistant concertmaster The Hillsdale Fund Chair Jennifer Ross, principal second The Joan M. Herbers Chair **Amy Cave The Randy & Marilyn Miller Chair Robert Gillespie The Wilson Family Chair Eric Kline T he Jim & Ida Copenhaver Ginter Chair Heather Kufchak The Deborah Raita Chair Solomon Liang The Laurie & Thomas W. Hill Chair William Manley The Fran Luckoff Chair Victoria Moreira The Dyann & E. Joel Wesp Chair Koko Watanabe The Elizabeth Williams Chair VIOLAS Mary Harris, principal The Margaret & Jerome Cunningham Chair **Brett Allen The Jane Werum Chair Stephen Goist The Regie & David Powell Chair Michael Isaac Strauss The Anne Powell Riley Chair VIOLONCELLOS Marc Moskovitz, principal The Barbara Trueman Chair **Joel Becktell The Donna K. Laidlaw Chair Nathaniel Chaitkin The William K. Laidlaw Chair Cora Kuyvenhoven The Bob & Mary Frances Restrepo Chair

BASSES John Pellegrino, principal Patrick Bilanchone The Kathryn D. Sullivan Chair FLUTES Vacant, principal The Dana Navin Schultz Chair Vacant The Miriam & Bernard Yenkin Chair OBOES Donna Conaty, principal The Lee Shackelford Chair Vacant The Artie & Alisa Isaac Chair CLARINETS Ilya Shterenberg, principal T he Beth Grimes-Flood & Tom Flood Chair Jennifer Magistrelli The Robert T. Bennett Chair BASSOONS Ellen Connors, principal The Loann W. Crane Chair Rachael Young The Carolyn Merry & Bob Redfield Chair HORNS Stephanie Blaha, principal The Todd S. Swatsler Chair Vacant The Denise & Barry Blank Chair TRUMPETS Vacant, principal The Susan L. Quintenz Chair Timothy Leasure The William & Wendy Faust Chair

TIMPANI & PERCUSSION Renée 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 Nadine Hur flute Amy Guitry flute Dwight Parry oboe Jessica Smithorn oboe Valerie Sly horn Ted Clark trumpet Vladimir Gebe violin Amanda Grimm viola ORCHESTRA MANAGER Mariana Szalaj The Regie & David Powell Chair ** Begins the alphabetical listing of string players who participate in a system of rotated seating.

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

Sounds of the Season Colin Currie, percussion Southern Theatre // Saturday, December 14 // 5:30 PM Southern Theatre // Sunday, December 15 // 7:00 PM TRAETTA Armida Overture I . Allegro II. Andante III. Allegro GRIME

Percussion Concerto (Ohio Premiere)

I . Bright – II. Subdued, lamenting – III. Fleet-footed, mercurial Colin Currie, percussion

Intermission

Intermission lasts 15 minutes CORELLI Concerto Grosso in G minor Op. 6, No. 8 “Christmas Concerto”

I. Vivace – Grave: Arcate sostenuto e come sta II. Allegro III. Adagio - Allegro – Adagio IV. Vivace V. Allegro VI. Largo: Pastorale ad libitum MOZART Symphony No. 40 in G minor, K. 550

I . Molto Allegro II. Andante II. Menuetto IV. Allegro assai Stay for Coda: Post-Concert Conversation. Meet David Danzmayr and Colin Currie and learn more about tonight’s program.

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2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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D AV I D D A N Z M AY R THE ELIZABETH M. ROSS MUSIC DIRECTOR VIOLINS Katherine McLin, concertmaster The Donald G. Dunn Chair Rebecca Willie, assistant concertmaster The Hillsdale Fund Chair Jennifer Ross, principal second The Joan M. Herbers Chair **Amy Cave The Randy & Marilyn Miller Chair Robert Gillespie The Wilson Family Chair Eric Kline T he Jim & Ida Copenhaver Ginter Chair Heather Kufchak The Deborah Raita Chair Solomon Liang The Laurie & Thomas W. Hill Chair William Manley The Fran Luckoff Chair Victoria Moreira The Dyann & E. Joel Wesp Chair Koko Watanabe The Elizabeth Williams Chair VIOLAS Mary Harris, principal The Margaret & Jerome Cunningham Chair **Brett Allen The Jane Werum Chair Stephen Goist The Regie & David Powell Chair Michael Isaac Strauss The Anne Powell Riley Chair VIOLONCELLOS Marc Moskovitz, principal The Barbara Trueman Chair **Joel Becktell The Donna K. Laidlaw Chair Nathaniel Chaitkin The William K. Laidlaw Chair Cora Kuyvenhoven The Bob & Mary Frances Restrepo Chair

BASSES John Pellegrino, principal Patrick Bilanchone The Kathryn D. Sullivan Chair FLUTES Vacant, principal The Dana Navin Schultz Chair Vacant The Miriam & Bernard Yenkin Chair OBOES Donna Conaty, principal The Lee Shackelford Chair Vacant The Artie & Alisa Isaac Chair CLARINETS Ilya Shterenberg, principal T he Beth Grimes-Flood & Tom Flood Chair Jennifer Magistrelli The Robert T. Bennett Chair BASSOONS Ellen Connors, principal The Loann W. Crane Chair Rachael Young The Carolyn Merry & Bob Redfield Chair HORNS Stephanie Blaha, principal The Todd S. Swatsler Chair Vacant The Denise & Barry Blank Chair TRUMPETS Vacant, principal The Susan L. Quintenz Chair Timothy Leasure The William & Wendy Faust Chair

TIMPANI & PERCUSSION Renée 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 Nadine Hur flute Amy Guitry flute Dwight Parry oboe Jessica Smithorn oboe Valerie Sly horn Ted Clark trumpet Vladimir Gebe violin Amanda Grimm viola ORCHESTRA MANAGER Mariana Szalaj The Regie & David Powell Chair ** Begins the alphabetical listing of string players who participate in a system of rotated seating.

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

Sounds of the Season Colin Currie, percussion Southern Theatre // Saturday, December 14 // 5:30 PM Southern Theatre // Sunday, December 15 // 7:00 PM TRAETTA Armida Overture I . Allegro II. Andante III. Allegro GRIME

Percussion Concerto (Ohio Premiere)

I . Bright – II. Subdued, lamenting – III. Fleet-footed, mercurial Colin Currie, percussion

Intermission

Intermission lasts 15 minutes CORELLI Concerto Grosso in G minor Op. 6, No. 8 “Christmas Concerto”

I. Vivace – Grave: Arcate sostenuto e come sta II. Allegro III. Adagio - Allegro – Adagio IV. Vivace V. Allegro VI. Largo: Pastorale ad libitum MOZART Symphony No. 40 in G minor, K. 550

I . Molto Allegro II. Andante II. Menuetto IV. Allegro assai Stay for Coda: Post-Concert Conversation. Meet David Danzmayr and Colin Currie and learn more about tonight’s program.

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2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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

With the holidays around the corner, ProMusica felt it only fitting that we treat our audience to at least a bit of music composed for the season.

And so, the strings of the orchestra offer up the Christmas Concerto of Corelli, always a seasonal favorite. Our program will open with an energetic overture to Armida by the little known classicalera composer, Tommaso Traetta. We will then drop you into the here and now with the Ohio premiere of one of the classical music’s newest concerti, the Percussion Concerto of Helen Grime, featuring a return engagement by our soloist, Colin Currie. We then close out the year with Mozart’s 40th, among his best-known symphonies and a work composed in the mere span of a few weeks. Happy holidays!

TOMMASO TRAETTA (1727-1779): OVERTURE TO ARMIDA

Instrumentation: pairs of oboes, horns and strings Composed: unknown Premiere: unknown Duration: 7 minutes

in 2005. The list also includes an all-but-forgotten Italian, Tommaso Traetta, certainly among the most peripatetic musicians of his day.

Among the vanguard of 18th century opera composers, Traetta was born in the south of Italy. From there he headed north, first to Parma, where he served the court and absorbed the unshakable influence of French operatic tradition, and later to Naples, Rome, Vienna (where his opera Armida was premiered in 1761), Mannheim, St. Petersburg (where for seven years he was in the service of Catherine the Great), London, Paris (one year before Mozart’s arrival there), and finally back to Italy, where he died in Venice a celebrated composer who was buried with honors.

Traetta’s Overture to Armida reveals the composer’s penchant for the dramatic. Comprised of three sections (Allegro-Andante-Allegro), the score opens with high energy, featuring driving strings punctuated by wind interjections. Listen for a range of surprises, including sudden shifts of harmony and extremes of dynamics amidst the unrelenting forward motion. A gentle, Frenchinspired Andante follows, whose moving violin writing reveals the composer’s ability to target human emotion.

Traetta’s concluding Allegro is itself constructed in miniature A-B-A form. It opens with a hunt, evident in its triple meter and horn calls, while the contrasting B section, featuring violins alone, illustrates the composer’s command of contrapuntal technique. A return to the hunt concludes this short, charming work by a sadly neglected figure.

THE SCOOP: In Torquato Tasso’s 16th century epic poem Jerusalem Delivered, the enchantress Armida is sent by her father to murder the handsome Crusader Rinaldo, thus disrupting the knights’ Christian duty to wrest control of Jerusalem from the Muslims. Instead, Armida falls in love with the soldier. Their story has intrigued any number of artists and composers and the list of adaptations reads like an operatic who’s who: Monteverdi, Lully, Handel, Vivaldi, Gluck, Haydn, Rossini and Dvorak. More recently, add the British composer Judith Weir, whose Armida was produced

HELEN GRIME (B. 1981): PERCUSSION CONCERTO

Instrumentation: solo percussion (consisting of vibraphone, glockenspiel, marimba, crotales, cowbells, bass drum, tomtoms, congo drum, bongo drums, suspended cymbal, brake drums, woodblocks and metal pipe), pairs of flutes (second doubles on piccolo), oboes (second doubles on English horn), clarinets (second doubles on E-flat clarinet), bassoons (second doubles on contrabassoon), horns and trumpets, harp, celesta and strings Composed: 2018 Premiere: London, January 16, 2019 Duration: 23 minutes THE SCOOP: Scottish-born Helen Grime’s Percussion Concerto is but the most recent of a portfolio of work that already includes music for all major genres: orchestra, chorus, chamber music, solo piano, concerti and the stage. Though born in York, England, Grime’s family moved to Scotland while she was an infant and it was here where she came of age and began studying oboe and composition. She later returned to England to study at the Royal College of Music. It was also in England where much of her music has subsequently been performed, whether by the London Symphony, at the Proms, or by the Hallé Orchestra during the composer’s tenure as that orchestra’s associate composer.

Rather than focus on rhythm per se, Grime’s concept for her concerto was to explore issues of pitch and rhythm separately. Thus, the concerto’s first movement, which is largely pitch-oriented, opens with the vibraphone and the cadenza (soloist alone) combines both glockenspiel (tuned metal plates arranged in the fashion of a keyboard) and crotales (small tuned antique cymbals made of brass or bronze), resulting in a bright, high-pitched atmosphere. The second movement of the concerto, by contrast, is focused largely on rhythm and features percussion instruments of indefinite pitch. The third movement sees the marimba take to the fore until a coda-like section toward the end looks back to the prior combination of glockenspiel and crotales. There is no obvious form or tonality to the overall work. Rather, matters shift and evolve, as Grime explores

a kaleidoscope of colors and textures between soloist and orchestra. The latter is itself afforded an impressive arsenal of instruments, allowing for maximum timbral and dynamic potential.

Grime’s twenty-three-minute Percussion Concerto was co-commissioned by the Baltimore Symphony and the Swedish Chamber Orchestra, and premiered with tonight’s soloist, Colin Currie. As reported by Steve Lomas of the Classical Source, Grime “continued the upward trajectory of her position on the British music scene with her superb new Percussion Concerto.... The whole work is a model of clarity, timbral exquisiteness and rhythmic tautness.”

ARCANGELO CORELLI (1653-1713): CONCERTO GROSSO IN G MINOR, OP. 6 NO. 8 (“CHRISTMAS CONCERTO”) Instrumentation: string orchestra Composed: unknown Premiere: unknown Duration: 13 minutes

THE SCOOP: When we think of the violin, Italy should spring to mind.

It was here, after all, where the violin family was born and then experienced its zenith with makers such as Stradivari. It is no coincidence that here too were to be found the foremost performers on and composers for the instrument. At the turn of the 17th century, then, Italy was the ideal laboratory for the violin and no violinistcomposer from this period ranks higher in importance than Arcangelo Corelli. Born in the diocese of Ferrara, Corelli eventually moved to Bologna, where he appears to have been accepted into the Accademia Filarmonica by the age of 19, a very young age for so esteemed a performing society. Eventually Corelli settled in Rome, where he worked with a number of ensembles and slowly gained a reputation that would eventually attract the attention of popes and dukes. Ultimately, however, it was Corelli’s contributions as a teacher of the next generation of violinist-composers and his own music that established the Italian as “the iconic point of reference” to all later violinists.

Corelli’s compositional oeuvre can be broken down into a neat set of six opus numbers, each containing twelve

32

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

33

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

With the holidays around the corner, ProMusica felt it only fitting that we treat our audience to at least a bit of music composed for the season.

And so, the strings of the orchestra offer up the Christmas Concerto of Corelli, always a seasonal favorite. Our program will open with an energetic overture to Armida by the little known classicalera composer, Tommaso Traetta. We will then drop you into the here and now with the Ohio premiere of one of the classical music’s newest concerti, the Percussion Concerto of Helen Grime, featuring a return engagement by our soloist, Colin Currie. We then close out the year with Mozart’s 40th, among his best-known symphonies and a work composed in the mere span of a few weeks. Happy holidays!

TOMMASO TRAETTA (1727-1779): OVERTURE TO ARMIDA

Instrumentation: pairs of oboes, horns and strings Composed: unknown Premiere: unknown Duration: 7 minutes

in 2005. The list also includes an all-but-forgotten Italian, Tommaso Traetta, certainly among the most peripatetic musicians of his day.

Among the vanguard of 18th century opera composers, Traetta was born in the south of Italy. From there he headed north, first to Parma, where he served the court and absorbed the unshakable influence of French operatic tradition, and later to Naples, Rome, Vienna (where his opera Armida was premiered in 1761), Mannheim, St. Petersburg (where for seven years he was in the service of Catherine the Great), London, Paris (one year before Mozart’s arrival there), and finally back to Italy, where he died in Venice a celebrated composer who was buried with honors.

Traetta’s Overture to Armida reveals the composer’s penchant for the dramatic. Comprised of three sections (Allegro-Andante-Allegro), the score opens with high energy, featuring driving strings punctuated by wind interjections. Listen for a range of surprises, including sudden shifts of harmony and extremes of dynamics amidst the unrelenting forward motion. A gentle, Frenchinspired Andante follows, whose moving violin writing reveals the composer’s ability to target human emotion.

Traetta’s concluding Allegro is itself constructed in miniature A-B-A form. It opens with a hunt, evident in its triple meter and horn calls, while the contrasting B section, featuring violins alone, illustrates the composer’s command of contrapuntal technique. A return to the hunt concludes this short, charming work by a sadly neglected figure.

THE SCOOP: In Torquato Tasso’s 16th century epic poem Jerusalem Delivered, the enchantress Armida is sent by her father to murder the handsome Crusader Rinaldo, thus disrupting the knights’ Christian duty to wrest control of Jerusalem from the Muslims. Instead, Armida falls in love with the soldier. Their story has intrigued any number of artists and composers and the list of adaptations reads like an operatic who’s who: Monteverdi, Lully, Handel, Vivaldi, Gluck, Haydn, Rossini and Dvorak. More recently, add the British composer Judith Weir, whose Armida was produced

HELEN GRIME (B. 1981): PERCUSSION CONCERTO

Instrumentation: solo percussion (consisting of vibraphone, glockenspiel, marimba, crotales, cowbells, bass drum, tomtoms, congo drum, bongo drums, suspended cymbal, brake drums, woodblocks and metal pipe), pairs of flutes (second doubles on piccolo), oboes (second doubles on English horn), clarinets (second doubles on E-flat clarinet), bassoons (second doubles on contrabassoon), horns and trumpets, harp, celesta and strings Composed: 2018 Premiere: London, January 16, 2019 Duration: 23 minutes THE SCOOP: Scottish-born Helen Grime’s Percussion Concerto is but the most recent of a portfolio of work that already includes music for all major genres: orchestra, chorus, chamber music, solo piano, concerti and the stage. Though born in York, England, Grime’s family moved to Scotland while she was an infant and it was here where she came of age and began studying oboe and composition. She later returned to England to study at the Royal College of Music. It was also in England where much of her music has subsequently been performed, whether by the London Symphony, at the Proms, or by the Hallé Orchestra during the composer’s tenure as that orchestra’s associate composer.

Rather than focus on rhythm per se, Grime’s concept for her concerto was to explore issues of pitch and rhythm separately. Thus, the concerto’s first movement, which is largely pitch-oriented, opens with the vibraphone and the cadenza (soloist alone) combines both glockenspiel (tuned metal plates arranged in the fashion of a keyboard) and crotales (small tuned antique cymbals made of brass or bronze), resulting in a bright, high-pitched atmosphere. The second movement of the concerto, by contrast, is focused largely on rhythm and features percussion instruments of indefinite pitch. The third movement sees the marimba take to the fore until a coda-like section toward the end looks back to the prior combination of glockenspiel and crotales. There is no obvious form or tonality to the overall work. Rather, matters shift and evolve, as Grime explores

a kaleidoscope of colors and textures between soloist and orchestra. The latter is itself afforded an impressive arsenal of instruments, allowing for maximum timbral and dynamic potential.

Grime’s twenty-three-minute Percussion Concerto was co-commissioned by the Baltimore Symphony and the Swedish Chamber Orchestra, and premiered with tonight’s soloist, Colin Currie. As reported by Steve Lomas of the Classical Source, Grime “continued the upward trajectory of her position on the British music scene with her superb new Percussion Concerto.... The whole work is a model of clarity, timbral exquisiteness and rhythmic tautness.”

ARCANGELO CORELLI (1653-1713): CONCERTO GROSSO IN G MINOR, OP. 6 NO. 8 (“CHRISTMAS CONCERTO”) Instrumentation: string orchestra Composed: unknown Premiere: unknown Duration: 13 minutes

THE SCOOP: When we think of the violin, Italy should spring to mind.

It was here, after all, where the violin family was born and then experienced its zenith with makers such as Stradivari. It is no coincidence that here too were to be found the foremost performers on and composers for the instrument. At the turn of the 17th century, then, Italy was the ideal laboratory for the violin and no violinistcomposer from this period ranks higher in importance than Arcangelo Corelli. Born in the diocese of Ferrara, Corelli eventually moved to Bologna, where he appears to have been accepted into the Accademia Filarmonica by the age of 19, a very young age for so esteemed a performing society. Eventually Corelli settled in Rome, where he worked with a number of ensembles and slowly gained a reputation that would eventually attract the attention of popes and dukes. Ultimately, however, it was Corelli’s contributions as a teacher of the next generation of violinist-composers and his own music that established the Italian as “the iconic point of reference” to all later violinists.

Corelli’s compositional oeuvre can be broken down into a neat set of six opus numbers, each containing twelve

32

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

33

separate works and each employing the violin in a solo capacity. The first five are sonatas of various types, while the Opus 6 are Concerti Grossi, an early Baroque form that Corelli almost single-handedly developed—he was also the first composer to actually use the term—and which in turn gave way to the classical concerto. As is typical of the composer’s concerti, the Christmas Concerto juxtaposes a concertino group (in this case two violins and cello) with the larger body of strings known as the ripieno. As is also typical, the concerto demonstrates Corelli’s inventiveness as a composer whose harmonic designs created a sense of inevitability of direction. Whether involving scaler melodies, string crossing patterns or Corelli’s trademark “suspensions”—two notes that grate against one another until one resolves into yet another clash, and then another, until the pattern comes to rest—Corelli’s music always pushes forward in exciting and moving ways.

As opposed to the four movements common among Corelli’s “church” concerti, the Christmas Concerto is comprised of six movements. The first opens with a few festive introductory Vivace bars before moving on to a more sustained Grave.

The Allegro features our two groups, as the two solo violins and solo cello are answered in quick succession by the larger ripieno group. The third movement is itself a tripartite form, Adagio-Allegro-Adagio, the glorious slower sections featuring the chains of suspensions mentioned earlier. Two fast movements follow (the first in 3/4 time, the latter in 4/4) and then the concerto concludes with a gentle pastoral, marked Largo, arguably the most famous movement to come from Corelli’s pen. While there is nothing religious about the concerto per se, the undated score bears the inscription Fatto per la notte di Natale, “made for the night of Christmas.”

WOLFGANG AMADEUS MOZART (1756-1791): SYMPHONY NO. 40 IN G MINOR, K. 550 Instrumentation: flute, pairs of oboes, clarinets, bassoons and horns, timpani and strings Composed: July, 1788 Premiere: unknown Duration: 35 minutes THE SCOOP: While there is some mystery surrounding the genesis of Mozart’s 40th Symphony, one thing is for certain: it was

34

finished by 25 July, 1788, the date the composer entered the work into his catalog of compositions. The G minor Symphony (sometimes referred to as the “Great G minor Symphony” to differentiate from the earlier symphony in the same key performed earlier this season) followed on the heels of No. 39, completed the previous month and was in turn followed 16 days later by the completion of No. 41, what would prove Mozart’s final symphonic offering. Given the sophisticated nature of these scores, this was a remarkable stretch by any standards and shows Mozart at the height of his creative powers. Yet these symphonies were far from his only concerns, musical or otherwise, during this phase of the composer’s life. That July he also completed a violin sonata, a piano sonata, and a piano trio. And the previous month, besides composing another piano trio, Mozart changed addresses and sadly experienced the loss of his fourth child. We might wonder where he found the energy, much less the concentration required for such work?

Why these three symphonies at this stage? In all likelihood, Mozart had plans for them to be performed at Vienna concerts, although there is no record of these specific works being played on any concerts during this time, with a single exception: a letter survives telling about a private performance of the G minor Symphony at the home of Baron Gottfried van Swieten, one of Beethoven’s patrons as well. Unfortunately, it appears that the symphony was so poorly executed that Mozart left the room! Whether or not he ever heard it performed as he envisioned it remains a question but the fact that he subsequently incorporated clarinets and adjusted the wind parts accordingly— the version performed tonight—suggests that another performance of the work was pending.

Two factors heard at the outset of the opening Allegro should grab our attention: first, the work opens not with a melody but with an accompaniment (listen for the active viola writing in the first bars). This concept—setting up the entrance with a measure or two of accompaniment—was to become a standard feature of the romantic era, as evident in Schubert songs, for example, but was as of yet a very uncommon opening gambit in a symphony. Second is the nature of Mozart’s melody when introduced by the fiddles. Rather than a flowing melody, note the repeated three-note motive with which he builds this theme and how it’s developed throughout the course of the movement

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

(the building of a theme from shorter fragments would prove a technique often employed by Beethoven and in fact the latter composer came to Vienna the previous year to study with Mozart but had to return home to attend to his mother’s health; by the time he returned five years later, Mozart was dead). The lyrical major-mode Andante, with its patches of musical humor, provides welcomed respite from the brooding nature of the opening Allegro. The Minuet again plunges us back into the darker world of G minor, its angry opening theme very far removed from the aristocratic dance-type that Mozart had so often incorporated into his symphonies.

The middle “trio” section again offers major-key balance and features colorful wind writing. The opening theme of the spirited Allegro assai plays off the major and minor modes so quickly as to slip by almost unnoticed. This finale is cast in a sophisticated sonata form and as such the glorious second theme, introduced first by the violins and restated in slightly

altered phrases by the winds, is a long time in coming.

This fact alone gives us an idea of the breadth of this last movement, one of the composer’s last pure symphonic creations and one of his most musically challenging (you will soon hear grating dissonances not often associated with Mozart’s “classical” style). Yet as with much of the composer's late works, in the final analysis it also remains one of his most satisfying scores.

© Marc Moskovitz www.marcmoskovitz.com

About the Program Notes Author

Marc Moskovitz In addition to his work as principal cellist of the ProMusica Chamber Orchestra, Marc Moskovitz collaborates frequently with various other ensembles, among them The North Carolina Symphony. A former Associate Professor of The University of Toledo, Marc has been heard at the Library of Congress and the International Piatti Festival (Bergamo, Italy), and has performed with the Boston Pops and the Handel and Haydn Society of Boston, with whom he has also recorded and toured. His recordings include music of cello virtuosi David Popper and Alfredo Piatti, available on the VAI label. As an author, Marc has contributed to The New Grove Dictionary of Music and Musicians, written liner notes for the Naxos and Melba labels, and his program notes have appeared in English, German, Spanish and Chinese. He is author of Alexander Zemlinsky: A Lyric Symphony (2010) and more recently, co-author of Beethoven’s Cello: Five Revolutionary Sonatas and Their World, both published by Boydell & Brewer (UK). www.marcmoskovitz.com 2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

35

separate works and each employing the violin in a solo capacity. The first five are sonatas of various types, while the Opus 6 are Concerti Grossi, an early Baroque form that Corelli almost single-handedly developed—he was also the first composer to actually use the term—and which in turn gave way to the classical concerto. As is typical of the composer’s concerti, the Christmas Concerto juxtaposes a concertino group (in this case two violins and cello) with the larger body of strings known as the ripieno. As is also typical, the concerto demonstrates Corelli’s inventiveness as a composer whose harmonic designs created a sense of inevitability of direction. Whether involving scaler melodies, string crossing patterns or Corelli’s trademark “suspensions”—two notes that grate against one another until one resolves into yet another clash, and then another, until the pattern comes to rest—Corelli’s music always pushes forward in exciting and moving ways.

As opposed to the four movements common among Corelli’s “church” concerti, the Christmas Concerto is comprised of six movements. The first opens with a few festive introductory Vivace bars before moving on to a more sustained Grave.

The Allegro features our two groups, as the two solo violins and solo cello are answered in quick succession by the larger ripieno group. The third movement is itself a tripartite form, Adagio-Allegro-Adagio, the glorious slower sections featuring the chains of suspensions mentioned earlier. Two fast movements follow (the first in 3/4 time, the latter in 4/4) and then the concerto concludes with a gentle pastoral, marked Largo, arguably the most famous movement to come from Corelli’s pen. While there is nothing religious about the concerto per se, the undated score bears the inscription Fatto per la notte di Natale, “made for the night of Christmas.”

WOLFGANG AMADEUS MOZART (1756-1791): SYMPHONY NO. 40 IN G MINOR, K. 550 Instrumentation: flute, pairs of oboes, clarinets, bassoons and horns, timpani and strings Composed: July, 1788 Premiere: unknown Duration: 35 minutes THE SCOOP: While there is some mystery surrounding the genesis of Mozart’s 40th Symphony, one thing is for certain: it was

34

finished by 25 July, 1788, the date the composer entered the work into his catalog of compositions. The G minor Symphony (sometimes referred to as the “Great G minor Symphony” to differentiate from the earlier symphony in the same key performed earlier this season) followed on the heels of No. 39, completed the previous month and was in turn followed 16 days later by the completion of No. 41, what would prove Mozart’s final symphonic offering. Given the sophisticated nature of these scores, this was a remarkable stretch by any standards and shows Mozart at the height of his creative powers. Yet these symphonies were far from his only concerns, musical or otherwise, during this phase of the composer’s life. That July he also completed a violin sonata, a piano sonata, and a piano trio. And the previous month, besides composing another piano trio, Mozart changed addresses and sadly experienced the loss of his fourth child. We might wonder where he found the energy, much less the concentration required for such work?

Why these three symphonies at this stage? In all likelihood, Mozart had plans for them to be performed at Vienna concerts, although there is no record of these specific works being played on any concerts during this time, with a single exception: a letter survives telling about a private performance of the G minor Symphony at the home of Baron Gottfried van Swieten, one of Beethoven’s patrons as well. Unfortunately, it appears that the symphony was so poorly executed that Mozart left the room! Whether or not he ever heard it performed as he envisioned it remains a question but the fact that he subsequently incorporated clarinets and adjusted the wind parts accordingly— the version performed tonight—suggests that another performance of the work was pending.

Two factors heard at the outset of the opening Allegro should grab our attention: first, the work opens not with a melody but with an accompaniment (listen for the active viola writing in the first bars). This concept—setting up the entrance with a measure or two of accompaniment—was to become a standard feature of the romantic era, as evident in Schubert songs, for example, but was as of yet a very uncommon opening gambit in a symphony. Second is the nature of Mozart’s melody when introduced by the fiddles. Rather than a flowing melody, note the repeated three-note motive with which he builds this theme and how it’s developed throughout the course of the movement

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

(the building of a theme from shorter fragments would prove a technique often employed by Beethoven and in fact the latter composer came to Vienna the previous year to study with Mozart but had to return home to attend to his mother’s health; by the time he returned five years later, Mozart was dead). The lyrical major-mode Andante, with its patches of musical humor, provides welcomed respite from the brooding nature of the opening Allegro. The Minuet again plunges us back into the darker world of G minor, its angry opening theme very far removed from the aristocratic dance-type that Mozart had so often incorporated into his symphonies.

The middle “trio” section again offers major-key balance and features colorful wind writing. The opening theme of the spirited Allegro assai plays off the major and minor modes so quickly as to slip by almost unnoticed. This finale is cast in a sophisticated sonata form and as such the glorious second theme, introduced first by the violins and restated in slightly

altered phrases by the winds, is a long time in coming.

This fact alone gives us an idea of the breadth of this last movement, one of the composer’s last pure symphonic creations and one of his most musically challenging (you will soon hear grating dissonances not often associated with Mozart’s “classical” style). Yet as with much of the composer's late works, in the final analysis it also remains one of his most satisfying scores.

© Marc Moskovitz www.marcmoskovitz.com

About the Program Notes Author

Marc Moskovitz In addition to his work as principal cellist of the ProMusica Chamber Orchestra, Marc Moskovitz collaborates frequently with various other ensembles, among them The North Carolina Symphony. A former Associate Professor of The University of Toledo, Marc has been heard at the Library of Congress and the International Piatti Festival (Bergamo, Italy), and has performed with the Boston Pops and the Handel and Haydn Society of Boston, with whom he has also recorded and toured. His recordings include music of cello virtuosi David Popper and Alfredo Piatti, available on the VAI label. As an author, Marc has contributed to The New Grove Dictionary of Music and Musicians, written liner notes for the Naxos and Melba labels, and his program notes have appeared in English, German, Spanish and Chinese. He is author of Alexander Zemlinsky: A Lyric Symphony (2010) and more recently, co-author of Beethoven’s Cello: Five Revolutionary Sonatas and Their World, both published by Boydell & Brewer (UK). www.marcmoskovitz.com 2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

35

January Guest Artist

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

36

The Royal Philharmonic Orchestra appointed her as their inaugural Artist-in-Residence in 2018, through which Esther participated extensively in educational and outreach projects, alongside their concert performances in London and across the UK.

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

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

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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

Photo: Marco Borggreve

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

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

37

January Guest Artist

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

36

The Royal Philharmonic Orchestra appointed her as their inaugural Artist-in-Residence in 2018, through which Esther participated extensively in educational and outreach projects, alongside their concert performances in London and across the UK.

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

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

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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

Photo: Marco Borggreve

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

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

37

D AV I D D A N Z M AY R THE ELIZABETH M. ROSS MUSIC DIRECTOR VIOLINS Katherine McLin, concertmaster The Donald G. Dunn Chair Rebecca Willie, assistant concertmaster The Hillsdale Fund Chair Jennifer Ross, principal second The Joan M. Herbers Chair **Amy Cave The Randy & Marilyn Miller Chair Robert Gillespie The Wilson Family Chair Eric Kline The Jim & Ida Copenhaver Ginter Chair Heather Kufchak The Deborah Raita Chair Solomon Liang The Laurie & Thomas W. Hill Chair William Manley The Fran Luckoff Chair Victoria Moreira The Dyann & E. Joel Wesp Chair Koko Watanabe The Elizabeth Williams Chair VIOLAS Mary Harris, principal The Margaret & Jerome Cunningham Chair **Brett Allen The Jane Werum Chair Stephen Goist The Regie & David Powell Chair Michael Isaac Strauss The Anne Powell Riley Chair VIOLONCELLOS Marc Moskovitz, principal The Barbara Trueman Chair **Joel Becktell The Donna K. Laidlaw Chair Nathaniel Chaitkin The William K. Laidlaw Chair Cora Kuyvenhoven T he Bob & Mary Frances Restrepo Chair BASSES John Pellegrino, principal Patrick Bilanchone The Kathryn D. Sullivan Chair

38

FLUTES Vacant, principal The Dana Navin Schultz Chair Vacant The Miriam & Bernard Yenkin Chair OBOES Donna Conaty, principal The Lee Shackelford Chair Vacant The Artie & Alisa Isaac Chair CLARINETS Ilya Shterenberg, principal T he Beth Grimes-Flood & Tom Flood Chair Jennifer Magistrelli The Robert T. Bennett Chair BASSOONS Ellen Connors, principal The Loann W. Crane Chair Rachael Young The Carolyn Merry & Bob Redfield Chair HORNS Stephanie Blaha, principal The Todd S. Swatsler Chair Vacant The Denise & Barry Blank Chair TRUMPETS Vacant, principal The Susan L. Quintenz Chair Timothy Leasure The William & Wendy Faust Chair TIMPANI & PERCUSSION Renée Keller, principal The Michael & Jody Croley Jones Chair Rajesh Prasad The Bob Redfield & Mary Yerina Chair HARP Jeanne Norton, principal The Sustaining Board Chair

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

HARPSICHORD Aya Hamada, principal The ProMusica Board Chair in memory of Ida Copenhaver ASSISTING MUSICIANS Alistair Howlett flute Kyra Kester flute Noah Kay oboe Krista Weiss clarinet Jessica Findley Yang bassoon Matt Oliphant horn Emily Shelley horn Bruce Henniss horn Ansel Norris trumpet Michael Charbel trombone Ryan Behan piano Vladimir Gebe violin Julian Maddox violin Yael Senamaud viola Gary Matz bass Nate West bass ORCHESTRA MANAGER Mariana Szalaj The Regie & David Powell Chair ** Begins the alphabetical listing of string players who participate in a system of rotated seating.

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

Tchaikovsky Violin Concerto Esther Yoo, violin

Southern Theatre // Sunday, January 12 // 7:00 PM GOLIJOV ZZ’s Dream

TCHAIKOVSKY

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

Intermission

Intermission lasts 15 minutes W. DANZMAYR

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

HAYDN

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

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

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

39

D AV I D D A N Z M AY R THE ELIZABETH M. ROSS MUSIC DIRECTOR VIOLINS Katherine McLin, concertmaster The Donald G. Dunn Chair Rebecca Willie, assistant concertmaster The Hillsdale Fund Chair Jennifer Ross, principal second The Joan M. Herbers Chair **Amy Cave The Randy & Marilyn Miller Chair Robert Gillespie The Wilson Family Chair Eric Kline The Jim & Ida Copenhaver Ginter Chair Heather Kufchak The Deborah Raita Chair Solomon Liang The Laurie & Thomas W. Hill Chair William Manley The Fran Luckoff Chair Victoria Moreira The Dyann & E. Joel Wesp Chair Koko Watanabe The Elizabeth Williams Chair VIOLAS Mary Harris, principal The Margaret & Jerome Cunningham Chair **Brett Allen The Jane Werum Chair Stephen Goist The Regie & David Powell Chair Michael Isaac Strauss The Anne Powell Riley Chair VIOLONCELLOS Marc Moskovitz, principal The Barbara Trueman Chair **Joel Becktell The Donna K. Laidlaw Chair Nathaniel Chaitkin The William K. Laidlaw Chair Cora Kuyvenhoven T he Bob & Mary Frances Restrepo Chair BASSES John Pellegrino, principal Patrick Bilanchone The Kathryn D. Sullivan Chair

38

FLUTES Vacant, principal The Dana Navin Schultz Chair Vacant The Miriam & Bernard Yenkin Chair OBOES Donna Conaty, principal The Lee Shackelford Chair Vacant The Artie & Alisa Isaac Chair CLARINETS Ilya Shterenberg, principal T he Beth Grimes-Flood & Tom Flood Chair Jennifer Magistrelli The Robert T. Bennett Chair BASSOONS Ellen Connors, principal The Loann W. Crane Chair Rachael Young The Carolyn Merry & Bob Redfield Chair HORNS Stephanie Blaha, principal The Todd S. Swatsler Chair Vacant The Denise & Barry Blank Chair TRUMPETS Vacant, principal The Susan L. Quintenz Chair Timothy Leasure The William & Wendy Faust Chair TIMPANI & PERCUSSION Renée Keller, principal The Michael & Jody Croley Jones Chair Rajesh Prasad The Bob Redfield & Mary Yerina Chair HARP Jeanne Norton, principal The Sustaining Board Chair

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

HARPSICHORD Aya Hamada, principal The ProMusica Board Chair in memory of Ida Copenhaver ASSISTING MUSICIANS Alistair Howlett flute Kyra Kester flute Noah Kay oboe Krista Weiss clarinet Jessica Findley Yang bassoon Matt Oliphant horn Emily Shelley horn Bruce Henniss horn Ansel Norris trumpet Michael Charbel trombone Ryan Behan piano Vladimir Gebe violin Julian Maddox violin Yael Senamaud viola Gary Matz bass Nate West bass ORCHESTRA MANAGER Mariana Szalaj The Regie & David Powell Chair ** Begins the alphabetical listing of string players who participate in a system of rotated seating.

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

Tchaikovsky Violin Concerto Esther Yoo, violin

Southern Theatre // Sunday, January 12 // 7:00 PM GOLIJOV ZZ’s Dream

TCHAIKOVSKY

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

Intermission

Intermission lasts 15 minutes W. DANZMAYR

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

HAYDN

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

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

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

39

About the Music January

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

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

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

OSVALDO GOLIJOV (B. 1960): ZZ’S DREAM

Instrumentation: flute, oboe, clarinet, bassoon, horn, trumpet, trombone, vibraphone, harp, celeste and strings Composed: 2008 Premiered: Boston, 2008 Duration: 7 minutes THE SCOOP: The path of composer and teacher Osvaldo Golijov has been a circuitous one. Born in Argentina to a physician father and pianist mother, Golijov and his family emigrated to Romania; subsequently Osvaldo moved, first to Israel and shortly thereafter to America, where he worked with George Crumb, among this country’s most experimental and important composers. Since 1991 Golijov has been a resident of Massachusetts. As Golijov’s reputation grew, so did the call for commissions and today the composer has established a reputation for both inventive and highly accessible scores.

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

40

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

PIOTR ILYCH TCHAIKOVSKY (1840-1893): CONCERTO FOR VIOLIN AND ORCHESTRA IN D MAJOR, OP. 35 Instrumentation: solo violin, pairs of flutes, oboes, clarinets, bassoons and trumpets, four horns, timpani and strings Composed: Switzerland, 1878 Premiered: Vienna, 1881 Duration: 33 minutes

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

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

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

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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

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

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

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

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

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

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

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

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

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

41

About the Music January

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

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

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

OSVALDO GOLIJOV (B. 1960): ZZ’S DREAM

Instrumentation: flute, oboe, clarinet, bassoon, horn, trumpet, trombone, vibraphone, harp, celeste and strings Composed: 2008 Premiered: Boston, 2008 Duration: 7 minutes THE SCOOP: The path of composer and teacher Osvaldo Golijov has been a circuitous one. Born in Argentina to a physician father and pianist mother, Golijov and his family emigrated to Romania; subsequently Osvaldo moved, first to Israel and shortly thereafter to America, where he worked with George Crumb, among this country’s most experimental and important composers. Since 1991 Golijov has been a resident of Massachusetts. As Golijov’s reputation grew, so did the call for commissions and today the composer has established a reputation for both inventive and highly accessible scores.

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

40

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

PIOTR ILYCH TCHAIKOVSKY (1840-1893): CONCERTO FOR VIOLIN AND ORCHESTRA IN D MAJOR, OP. 35 Instrumentation: solo violin, pairs of flutes, oboes, clarinets, bassoons and trumpets, four horns, timpani and strings Composed: Switzerland, 1878 Premiered: Vienna, 1881 Duration: 33 minutes

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

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

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

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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

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

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

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

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

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

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

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

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

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

41

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

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

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

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

Say hello to a company that cares.

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

Learn more at nationwide.com/corporatecitizenship

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

42

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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

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

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

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

Say hello to a company that cares.

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

Learn more at nationwide.com/corporatecitizenship

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

42

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

Meet the Musicians

Katherine McLin

Rebecca Willie

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

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

Amy Cave

Robert Gillespie

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

Heather Kufchak

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

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

Solomon Liang

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

Jennifer Ross

Koko Watanabe

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

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

Eric Kline

Michael Isaac Strauss

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

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

William Manley

Joel Becktell

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

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

Mary Harris

Brett Allen

Stephen Goist

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

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

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

Marc Moskovitz

Cora Kuyvenhoven

Nathaniel Chaitkin

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

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

John Pellegrino

Patrick Bilanchone

principal double bass, 8 years Current Residence: Columbus, OH

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

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

Donna Conaty

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

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

Victoria Moreira

44

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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

Ilya Shterenberg

principal clarinet, 2 years The Beth Grimes-Flood & Tom Flood Chair Current Residence: San Antonio, TX

Jennifer Magistrelli

clarinet, 8 years The Robert T. Bennett Chair 2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org Current Residence: Richfield, OH

45

Meet the Musicians

Katherine McLin

Rebecca Willie

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

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

Amy Cave

Robert Gillespie

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

Heather Kufchak

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

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

Solomon Liang

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

Jennifer Ross

Koko Watanabe

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

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

Eric Kline

Michael Isaac Strauss

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

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

William Manley

Joel Becktell

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

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

Mary Harris

Brett Allen

Stephen Goist

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

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

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

Marc Moskovitz

Cora Kuyvenhoven

Nathaniel Chaitkin

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

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

John Pellegrino

Patrick Bilanchone

principal double bass, 8 years Current Residence: Columbus, OH

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

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

Donna Conaty

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

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

Victoria Moreira

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2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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

Ilya Shterenberg

principal clarinet, 2 years The Beth Grimes-Flood & Tom Flood Chair Current Residence: San Antonio, TX

Jennifer Magistrelli

clarinet, 8 years The Robert T. Bennett Chair 2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org Current Residence: Richfield, OH

45

Rachael Young

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

Stephanie Blaha

Timothy Leasure

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

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

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

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

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

Renée Keller

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

Rajesh Prasad

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

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

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

Jeanne Norton

46

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

Aya Hamada

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

GCAC.org

Photo: Rick Buchanan | Design: Formation Studio

Ellen Connors

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

Rachael Young

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

Stephanie Blaha

Timothy Leasure

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

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

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

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

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

Renée Keller

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

Rajesh Prasad

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

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

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

Jeanne Norton

46

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

Aya Hamada

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

GCAC.org

Photo: Rick Buchanan | Design: Formation Studio

Ellen Connors

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

Support ProMusica.

Join Our Family.

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

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

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

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

We sincerely thank the following contributors for their generous gifts of $100 or more to our 2018-2019 season. Please consider making a tax-deductible contribution for ProMusica’s 2019-2020 Annual Fund Campaign online at promusicacolumbus.org, or by calling ProMusica’s Development Office at 614.464.0066 ext. 104.

MAESTROS $10,000 AND ABOVE Gifts from Individuals Deborah Anderson Margaret and Jerome Cunningham Donald G. Dunn Joan Herbers Kathryn Sullivan Todd Swatsler Barbara Trueman Anonymous

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

Support from Foundations & Public Agency Funds American Electric Power Cardinal Health Foundation Leo J. Marks Fund and Kenneth L. Coe and Jack Barrow Fund of The Columbus Foundation The Crane Family Foundation DGD Group E. Nakamichi Foundation The Fox Foundation Greater Columbus Arts Council The Hillsdale Fund Ingram-White Castle Foundation Key Bank L Brands Nationwide Ohio Arts Council ProMusica Sustaining Board The Reinberger Foundation The Shackelford Family Fund of The Columbus Foundation The Siemer Family Foundation

ENCORE $5,000 - $9,999 Gifts from Individuals George Barrett John F. Brownley Beth Grimes-Flood and Tom Flood Ida Copenhaver and Jim Ginter Jody Croley Jones and Mike Jones Donna Laidlaw Renee K. and George M. Levine Fund of The Columbus Foundation Deborah Neimeth Anne Powell Riley Regie and David Powell The Quintenz Family Mary Yerina and Bob Redfield Mary Frances and Bob Restrepo Dana Navin Schultz and Hugh Schultz Stephanie and Grant Stephenson

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

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

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

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

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

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

49

Support ProMusica.

Join Our Family.

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

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

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

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

We sincerely thank the following contributors for their generous gifts of $100 or more to our 2018-2019 season. Please consider making a tax-deductible contribution for ProMusica’s 2019-2020 Annual Fund Campaign online at promusicacolumbus.org, or by calling ProMusica’s Development Office at 614.464.0066 ext. 104.

MAESTROS $10,000 AND ABOVE Gifts from Individuals Deborah Anderson Margaret and Jerome Cunningham Donald G. Dunn Joan Herbers Kathryn Sullivan Todd Swatsler Barbara Trueman Anonymous

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

Support from Foundations & Public Agency Funds American Electric Power Cardinal Health Foundation Leo J. Marks Fund and Kenneth L. Coe and Jack Barrow Fund of The Columbus Foundation The Crane Family Foundation DGD Group E. Nakamichi Foundation The Fox Foundation Greater Columbus Arts Council The Hillsdale Fund Ingram-White Castle Foundation Key Bank L Brands Nationwide Ohio Arts Council ProMusica Sustaining Board The Reinberger Foundation The Shackelford Family Fund of The Columbus Foundation The Siemer Family Foundation

ENCORE $5,000 - $9,999 Gifts from Individuals George Barrett John F. Brownley Beth Grimes-Flood and Tom Flood Ida Copenhaver and Jim Ginter Jody Croley Jones and Mike Jones Donna Laidlaw Renee K. and George M. Levine Fund of The Columbus Foundation Deborah Neimeth Anne Powell Riley Regie and David Powell The Quintenz Family Mary Yerina and Bob Redfield Mary Frances and Bob Restrepo Dana Navin Schultz and Hugh Schultz Stephanie and Grant Stephenson

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

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

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

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

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

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

49

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

50

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

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

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

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

Betsy and Charles Warner Bernice and Chuck White Jill Whitworth Margie and Thomas Williams Anonymous SPECIAL GIFTS In Memory of Laurel & John Fosness Nancy Elam This list includes contributions made to ProMusica for the period of July 1, 2018 to June 30, 2019. Every effort has been made to ensure accuracy. However, in listings of this length, errors and omissions may occur. If your name has been omitted, or listed incorrectly, we sincerely apologize. Please let us know so that we may correct our records and this listing. Thank you.

51

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

50

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

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

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

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

Betsy and Charles Warner Bernice and Chuck White Jill Whitworth Margie and Thomas Williams Anonymous SPECIAL GIFTS In Memory of Laurel & John Fosness Nancy Elam This list includes contributions made to ProMusica for the period of July 1, 2018 to June 30, 2019. Every effort has been made to ensure accuracy. However, in listings of this length, errors and omissions may occur. If your name has been omitted, or listed incorrectly, we sincerely apologize. Please let us know so that we may correct our records and this listing. Thank you.

51

2019 Soirée Sponsors and Patrons

Gifts to the Endowment Fund

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

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

52

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

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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

Gifts contributed to the ProMusica Endowment Fund provide a lasting financial foundation for the future of our orchestra. ProMusica Chamber Orchestra deeply appreciates the following gifts received during the 2018-2019 giving year (July 1, 2018– June 30, 2019).

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

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

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

In Honor of Susan Quintenz David Schooler Elizabeth Williams In Memory of Joyce Shisler The Shisler and Bonaccorso Families In Honor of Stephanie Stephenson Ann and Rick Theders In Honor of Frances Webb Diana Forrest In Honor of Margaret Wells Martha Lentz In Honor of Elizabeth Williams Susan and Ken Quintenz For more information on making a perpetual gift to the ProMusica Endowment Fund, please contact the ProMusica Development Office at 614.464.0066 ext. 104

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

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

53

2019 Soirée Sponsors and Patrons

Gifts to the Endowment Fund

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

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

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

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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

Gifts contributed to the ProMusica Endowment Fund provide a lasting financial foundation for the future of our orchestra. ProMusica Chamber Orchestra deeply appreciates the following gifts received during the 2018-2019 giving year (July 1, 2018– June 30, 2019).

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

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

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

In Honor of Susan Quintenz David Schooler Elizabeth Williams In Memory of Joyce Shisler The Shisler and Bonaccorso Families In Honor of Stephanie Stephenson Ann and Rick Theders In Honor of Frances Webb Diana Forrest In Honor of Margaret Wells Martha Lentz In Honor of Elizabeth Williams Susan and Ken Quintenz For more information on making a perpetual gift to the ProMusica Endowment Fund, please contact the ProMusica Development Office at 614.464.0066 ext. 104

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

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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Play Us Forward Donors ProMusica thanks the following who have generously donated an instrument or contributed to help fund our “Play Us Forward” outreach program. Support for “Play Us Forward” helps provide musical instruments, instruction, and enrichment activities to more than 100 middle-schoolers at no cost to students or their families.

If you wish to participate to ensure the program’s sustainability, please visit promusicacolumbus.org or contact 614.464.0066 for more information. Thank you for making musical opportunities possible for the youth in our community!

Contributions listed were received for the 2018-2019 school year.

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

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

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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

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

Play Us Forward Donors ProMusica thanks the following who have generously donated an instrument or contributed to help fund our “Play Us Forward” outreach program. Support for “Play Us Forward” helps provide musical instruments, instruction, and enrichment activities to more than 100 middle-schoolers at no cost to students or their families.

If you wish to participate to ensure the program’s sustainability, please visit promusicacolumbus.org or contact 614.464.0066 for more information. Thank you for making musical opportunities possible for the youth in our community!

Contributions listed were received for the 2018-2019 school year.

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

54

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

2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

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

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

201 9-2020 PROGRAM 72nd SEASON

TICKETS

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

Modigliani Quartet NOV 16, 2019

American Brass Quintet JAN 25, 2020

Jones Day proudly supports ProMusica Chamber Orchestra and its commitment to world-renowned classical music experiences.

CAPA 614-469-0939 TicketMaster.com

Why Jones Day? Binding energy, conviction, and credibility arising from shared professional values.

ChamberMusicColumbus.org

Southern Theatre, 21 East Main St.

Calidore String Quartet FEB 29, 2019

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

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

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

2500 LAWYERS. 43 LOCATIONS. 5 CONTINENTS. ONE FIRM WORLDWIDE.® JONESDAY.COM

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

HOME OF

columbusfoundation.org

201 9-2020 PROGRAM 72nd SEASON

TICKETS

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

Modigliani Quartet NOV 16, 2019

American Brass Quintet JAN 25, 2020

Jones Day proudly supports ProMusica Chamber Orchestra and its commitment to world-renowned classical music experiences.

CAPA 614-469-0939 TicketMaster.com

Why Jones Day? Binding energy, conviction, and credibility arising from shared professional values.

ChamberMusicColumbus.org

Southern Theatre, 21 East Main St.

Calidore String Quartet FEB 29, 2019

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

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

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

2500 LAWYERS. 43 LOCATIONS. 5 CONTINENTS. ONE FIRM WORLDWIDE.® JONESDAY.COM

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

HOME OF

columbusfoundation.org

drums • Custom Work • Lessons • Sales

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

Four Columbus Area Locations

Convention Center • Dublin Grove City • Polaris www.columbuspercussion.com

5052 N. High St. Columbus, OH 43214

D R UR Y HOT E L S.C OM

◆

800- D R UR Y IN N

drums • Custom Work • Lessons • Sales

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

Four Columbus Area Locations

Convention Center • Dublin Grove City • Polaris www.columbuspercussion.com

5052 N. High St. Columbus, OH 43214

D R UR Y HOT E L S.C OM

◆

800- D R UR Y IN N

Excellence.

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

www.taftlaw.com

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

wosu.org

Excellence.

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

www.taftlaw.com

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

wosu.org

Proud Excited Porter Wright is proud to support ProMusica Chamber Orchestra’s dedication to a world-class and unique classical music experience.

Congratulations on another successful season!

Proud Excited Porter Wright is proud to support ProMusica Chamber Orchestra’s dedication to a world-class and unique classical music experience.

Congratulations on another successful season!