ProMusica | Oct - Dec 2025 Program Book

25-26 SEASON PROGRAM BOOK

BÉLA FLECK’S RHAPSODY IN BLUE

SAINT-SAËNS & SCHUBERT

October 18 & 19

November 8 & 9

MOZART & GULDA December 13 & 14

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

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

Jessica Penza, CFP® Financial Advisor

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

CEO Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Music Director Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Creative Partner & Principal Guest Artist Biography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Important Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Boards and Administration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1 Béla Fleck's Rhapsody in Blue Biographies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Saint-Saëns & Schubert Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Mozart & Gulda Biographies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Meet the Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Financial Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Season support Season partners ProMusica Chamber Orchestra

620 East Broad Street – Suite 300, Columbus, OH 43215 614.464.0066 • www.promusicacolumbus.org Orchestra & Musician photos:

Tom Battenberg & Helen Liebman Chair

Chief Executive Officer Welcome to our 2025-26 season!

This year, we reimagine tradition. Starting with GRAMMY-winning banjo virtuoso Béla Fleck performing his arrangement of Gershwin’s Rhapsody in Blue, we will keep you on the edge of your seat throughout the season. The orchestra shares the stage for exhilarating performances with acclaimed artists including pianist Terrence Wilson, The Cleveland Orchestra’s principal cellist Mark Kosower, soprano Camilla Tilling, and rising stars violinist Julian Rhee and pianist Janice Carissa both make their return to ProMusica. The orchestra will present Mahler’s Symphony No. 4, arranged and intimately scored for chamber orchestra. We reaffirm our strong commitment to promoting contemporary works with the world premiere of our 73rd commission: “FLOW: Variations Over Time” by our dear friend and composer Paul Rissmann. Paul will also host our popular NAKED CLASSICS, where we delve into the beloved and iconic Appalachian Spring. The season concludes with Music Director David Danzmayr and Creative Partner, renowned violinist Vadim Gluzman reunited on stage for Shostakovich's powerful Violin Concerto No. 1. You’ll want to hang on for the wild ride!

This September, ProMusica was announced as the recipient of The 2025 Columbus Foundation Award — presented to a nonprofit organization that has significantly enhanced the quality of life in our community. On behalf of the organization, we are thrilled to share this honor with all of you – our supporters, patrons, and friends. Without an audience, there is no music, and we are grateful to The Columbus Foundation for recognizing not only the exceptional standard of playing by our orchestra, but also our commitment to serve our community. We are truly honored by this recognition, and look forward to our continued work to bend and push the boundaries of presenting great music in a great city.

Thank you for joining us. It is a privilege to share our music with you, and we are thrilled you’ve chosen to be a part of it tonight.

Sincerely,

Janet Chen Chief Executive Officer

Janet Chen has led an active and diverse career as a performing musician, arts administrator, and music educator. Born in America and raised in Taiwan, she combines her experiences from both cultures to enrich her work in the community. A classically trained flutist, Janet transitioned from performance to arts management, taking on the role as ProMusica’s Operations and Education Manager before becoming its CEO. Under her tenure, ProMusica has doubled its annual operating budget — introducing new artistic programs and outreach collaborations including its free outdoor Summer Music Series concerts; its “Play Us Forward” initiative putting instruments and music instruction into the hands of underserved students; its “Infant and Toddler Program” in partnership with area early childhood learning centers, and the commissioning of new works from America’s living composers with 73 new works created to-date. In close partnership with the ProMusica’s artistic leadership, the orchestra has achieved national and international acclaim as one of the top chamber orchestras of today.

Janet has been recognized for her contributions to the arts, honored by Business First as one of the “Most Admired Executives in Central Ohio” and as a YWCA Woman of Achievement. Most recently, she was a finalist for “CEO of the Year” in the small non-profit category by Columbus CEO. She was selected as a 2021 honoree by the Women for Economic and Leadership Development (WELD). In 2018, she was one of ten members representing Columbus at the Young American Leaders Program at the Harvard Business School. Janet serves on the Boards of CreativeOhio, Experience Columbus, and Pink Ribbon Good, and is a member of the Columbus Cultural Leadership Consortium.

Janet holds a bachelor's degree from the Oberlin Conservatory of Music, and a master's degree in flute performance from the University of Cincinnati College-Conservatory of Music. Prior to joining ProMusica, she was a member of the Taipei Symphony Orchestra in Taipei, Taiwan, and spent two summers as a flute instructor at the Interlochen Center for the Arts in Michigan.

Photo: Shellee Fisher Photography & Design for WELD

From the

Celebrating the Arts + Leadership At Kegler Brown, we believe the arts are an essential part of our shared human experience. Through the work of ProMusica Chamber Orchestra, music continues to inspire and enrich our community.

We’re proud to congratulate our colleague Adam Miller, on his appointment to the ProMusica Board of Directors.

His commitment to service and civic engagement reflects the values we champion every day. keglerbrown.com

Photo: Rick Buchanan Photography

The Wayne P. Lawson, PhD & William Mitchell, MD Music Director

David Danzmayr

David Danzmayr is in his fifth season as Music Director of the Oregon Symphony. His 2024/25 season culminated in a performance of Mahler’s Symphony No.3 described by Oregon ArtsWatch as “an emotionally rewarding experience…Led by Danzmayr, the orchestra created the sensation of timelessness, […] taking concertgoers to a heavenly dimension.”

Alongside his position in Oregon, Danzmayr also serves as Music Director of the innovative ProMusica Chamber Orchestra, comprised of musicians from all over the USA who are building exciting projects towards their upcoming 50thanniversary season. He also works regularly with Zagreb Philharmonic Orchestra with whom he previously served as Chief Conductor – highlights of his tenure included several European tours with concerts in Vienna Musikverein as well as Salzburg Festival Hall, where together they performed the prestigious New Year’s concert.

In Europe, relationships include City of Birmingham Symphony Orchestra, Bamberger Symphoniker, Sinfonieorchester Basel, Mozarteum Orchester, Iceland Symphony Orchestra, and he has a regular relationship with Deutsche Kammerphilharmonie Bremen with whom he embarks on a summer festivals tour in 2026.

Working with soloists at the highest level, Danzmayr has enjoyed collaborations with Yefim Bronfman, Emanuel Ax, Sir Stephen Hough, Renee Fleming and Yo-Yo Ma. The 2025/26 season includes regular partners Joshua Bell, Joyce Yang, Colin Currie and Gil Shaham. In the same season, he will make the world premiere of a new jazz piano concerto

by David Schiff, commissioned by Oregon Symphony with pianist Darrell Grant.

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 and his first post was in Scotland, as Assistant Conductor to the Royal Scottish National Orchestra.

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

As a guest conductor, Danzmayr has worked extensively across North America, and recent and forthcoming engagements include Seattle, St. Louis, Atlanta, Vancouver and Dallas symphonies, as well as the orchestras of Detroit, Baltimore, Houston and San Diego.

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Photo: Marco Borggreve

Creative Partner & Principal Guest Artist The Wilson Family Chair

Vadim Gluzman

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

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

In the 2025/26 season Vadim Gluzman appears with the Deutsches Symphonie-Orchester Berlin, Israel Philharmonic, Seoul Philharmonic, NDR Elbphilharmonie and the NDR Radio Philharmonie, as well as with the Seattle, Utah and

North Carolina Symphony Orchestras. He tours with Gluzman, Moser, Korobeinikov Trio, and continues to lead performances with the ProMusica Chamber Orchestra in Columbus, Ohio, where he serves as Creative Partner & Principal Guest Artist.

Mr. Gluzman has premiered works by Sofia Gubaidulina, Erkki-Sven Tüür, Moritz Eggert, Giya Kancheli, Elena Firsova, Pēteris Vasks, Michael Daugherty and Lera Auerbach. In 2025 he commences his role as Artistic Director of the Music in the Mountains Festival in Durango, Colorado.

Accolades for Guzman’s extensive discography include the Diapason d’Or of the Year, Gramophone’s Editor’s Choice, Classica magazine’s Choc de Classica award, and Disc of the Month by The Strad, BBC Music Magazine and ClassicFM. Distinguished Artist in Residence at the Peabody Conservatory, where he teaches a selected group of young violinists, Gluzman performs on the legendary 1690 ‘exLeopold Auer’ Stradivari, on extended loan through the Stradivari Society of Chicago.

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About the Orchestra We are a creative collective of 37 musicians united by our love for music and committed to sharing it with the world. Our concerts honor the classics and champion the contemporary, with 73 commissions to date and a verve for risk taking collaborations. Our music bends the boundaries of imagination, curiosity and discovery.

We are committed to the next generation of music lovers, providing free programs to all ages— empowering young minds and ensuring access. Because music is for all.

Founded in 1979, ProMusica is known for its exceptional artistry, audience intimacy, and community engagement.

Led by Music Director David Danzmayr and Creative Partner, renowned violinist Vadim Gluzman, ProMusica reaches a broad audience across the city—as the resident orchestra at the intimate Southern Theatre in downtown Columbus, at notable venues beyond the city limits, and in non-traditional spaces such as Natalie’s Grandview and The Fives. With innovative initiatives such as our

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“Composer/Performer Project,” “Naked Classics,” and “Neighborhood Series,” ProMusica aspires to present live music in reimagined and meaningful ways for people to connect and experience with each other.

Committed to sharing a diverse array of musical eras and influences, ProMusica’s performances are time-tested and modern, presented in ways that few orchestras can.

Dedicated to shaping the future of orchestral music, we are widely recognized as a national leader in promoting contemporary repertoire—with 73 commissions and more than 130 world and regional premieres by composers including Pulitzer Prize winners Kevin Puts and Aaron Jay Kernis, Gabriela Lena Frank, Andy Akiho, Gabriela Montero, Lera Auerbach, Conrad Tao, and Joshua Roman. In addition, ProMusica has an active recording program with 13 CDs released to date. This is a testament to the world-class musicians on stage who thrive on artistic exploration and risk-taking—performing with the highest skill, emotion, and humanity for our audiences.

In 2017, ProMusica made its Chicago debut performing for a sold-out crowd at the North Shore Chamber Music Festival. Chicago Classical Review noted the ensemble’s “robust unified string timbre [was] most impressive, having an abundant Mozartean grace.” The orchestra has joined forces with crossover artists such as Sutton Foster, Rhiannon Giddens, and Leslie Odom, Jr. In May 2024, the orchestra collaborated with the award-winning artist, composer, multi-instrumentalist, and visionary Jon Batiste for a twoday musical residency, which included the world premiere of his first piano concerto.

Beyond the stage, ProMusica is deeply rooted in our city’s cultural fabric, serving approximately 20,000 individuals each season through outreach and education programs, provided at no cost to the participants. Designed to reach people of all ages, our musicians travel to area schools, we invite senior citizens to attend live, working rehearsals, and we put string instruments and musical instruction directly into the hands of middle schoolers.

Family-friendly concerts and pre-K Storytimes are presented city-wide, in partnership with the Columbus Metropolitan Library, and our “Play Us Forward” program offers urban charter schools an integrated, in-school music curriculum, inspiring self-confidence, creative expression, and overall academic achievement for each student involved. “Coda: Post-Concert Conversations” gives the opportunity for a direct dialogue between audiences and guest artists—deepening engagement with the music and performers. Our annual Summer Music Series welcomes

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thousands of guests to Franklin Park Conservatory & Botanical Gardens—free and open to the public, demonstrating our unwavering commitment to provide accessible and transformative performances to all residents in our community. Consistently demonstrating forwardand future-thinking ways to serve Columbus, the orchestra continues to develop new initiatives such as its “Infant and Toddler Program.” Collaborating with Columbus Early Learning Centers, ProMusica is now playing a role in early childhood development by bringing music to the region’s youngest learners.

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, and 2024, the orchestra was selected as a recipient of The Columbus Performing Arts Prize, designated to celebrate and support

the exceptional artistic directors of Columbus’ performing arts organizations and their aspirations for creative growth. Most recently, ProMusica is honored to be the recipient of The 2025 Columbus Foundation Award, presented to a selected nonprofit organization that demonstrates a strong commitment to making a positive impact.

ProMusica is intimate in size, but we are big in impact. We continue to bring you a truly personal arts experience, one that is full of surprise, delight, and belonging.

Our Mission: To deliver a world-class chamber orchestra experience through innovative programming, audience intimacy, exceptional talent, and artistic excellence.

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

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

Concessions are available inside the front doors to the left.

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

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

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

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

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

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

TICKETS OR ADDITIONAL INFORMATION Ticket Exchanges are available to season subscribers. Returned tickets qualify as a tax-deductible gift to ProMusica but must be returned by phone, by calling ProMusica at 614.464.0066 ext.

101, no later than the Thursday prior to the concert.

Discounted Group Rates are available.

Call 614.464.0066 for pricing and additional information.

Student Tickets are available for $15 through the ProMusica office.

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

Dare to be moved Orchestra photos: Rick Buchanan Photography

Board of Trustees and Administration OFFICERS

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

TRUSTEES

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

EX-OFFICIO

Janet Chen, Chief Executive Officer The Tom Battenberg & Helen Liebman Chair David Danzmayr, Music Director The Wayne P. Lawson, PhD & William Mitchell, MD Music Director Marianne Mottley, ProMusica Sustaining Board President

ADMINISTRATION Janet Chen

David Danzmayr

Vadim Gluzman

Yvette Boyer Carolyn Caldwell Carlie Geyer Tyler Green Dave Humeston Daniel Jacobs Suzanne Jennison Matthew Kurk Brittany Lockman Lydia Roth Sarah Short Austin Spillman Ashley Zarzabal

Chief Executive Officer T he Tom Battenberg & Helen Liebman Chair Music Director T he Wayne P. Lawson, PhD & William Mitchell, MD Music Director C reative Partner & Principal Guest Artist The Wilson Family Chair Finance Manager Grants Consultant Education Manager Education Programs Intern Data Services Manager Play Us Forward Teaching Artist Orchestra & Operations Manager Director of Advancement & Engagement Director of Marketing Music Librarian Ticketing & Audience Services Manager Operations & Education Assistant Administrative Coordinator

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

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Katherine Borst Jones Suzanne Karpus Donna Laidlaw Boyce Lancaster Mary Lazarus Peggy Lazarus Nancy Marzella Dr. William Mitchell Kathryn Sullivan Bernie Yenkin 11

MUSIC IS LIVE

IN COLUMBUS!

Search ColumbusMakesArt.com/Events for upcoming shows

Design: Formation Studio

ColumbusMakesArt.com is a project of:

Sustaining Board Since 1988, members of the ProMusica Sustaining Board have volunteered to raise community awareness and funds for the orchestra. We’ve donated over $1 million. Our membership and events help sustain ProMusica’s artistic and education programs. Annual membership dues are $50 (Musician), $125 (Principal) and $200 (Concertmaster). Join us and be part of this legacy!

EXECUTIVE COMMITTEE

MEMBERS-AT-LARGE Beverley Ervine Paul George Barbara Goettler Steven Hillyer Boyce Lancaster Barry Liss Thom O’Reilly Marquell Segelken Dyann Wesp

Marianne Mottley President Lee Shackelford Vice President Gwen Burt Secretary Michael Maggard and Dick Burry Co-Treasurers

PAST PRESIDENT ADVISORS

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

APPOINTMENTS

Sally Baughman and Mary Oellermann Culinary Capers 2025 Mark Butler Electronic Services Yvonne Burry Historian Donna Cavell and Jennifer Markovich Membership Jennifer Markovich Newsletter Mary Oellermann Nominating Marianne Mottley Special Events Betty Giammar Sunshine

CONCERTMASTER MEMBERS

Jordan Andrews Anonymous Sally Baughman Meredith Bonham John Brownley Daniel Burry Richard Burry Yvonne Burry Mark Butler Sandy Byers Donna Cavell Janet Chen Marilee Chinnici-Zuercher Harriet Donaldson Ellen Kay Douglas Keith Dufrane* Barbara Elliott Beverley Ervine Ellen George Paul George Betty Giammar Barbara Goettler Beth Grimes-Flood Laurie Hill Steven Hillyer Michael Jones Janet Kerekes Sharon Kokot Donna Laidlaw Angela LaMonte Boyce Lancaster Mary Lazarus Barry Liss Kathy Ludlam Lisa Maggard

Michael Maggard Jennifer Markovich Nancy Marzella Sally McDonald Marianne Mottley Brad Myers Peg Neal Mary Oellermann Thomas O’Reilly Dorothy Pritchard Susan Quintenz Deb Raita Bob Redfield Stephanie Riedmiller Robert Rutter Laurie Schmidt-Moats Lee Shackelford Sallie Sherman Patti Shorr Kitty Soldano Beth Stafa Stephanie Stephenson Nancy Turner* Cynthia Whitacre* Robert Wing Miriam Yenkin Mary Yerina

PRINCIPAL MEMBERS Claudia Abrams Susan Altan Peg Bainbridge Susan Berry Kim Bingle Nancy Brownell Gwen Burt Connie Cahill* Nancy Edwards Elizabeth Rossetti Ellis* Marion Fisher Ben Fuller* Rose Hume Deborah King Adele Lipari Andrew Maggard Susan McDonough Jan Quatman Clare Reter Jude Reter

Contact the Sustaining Board 2 5 - 2 6atSsustainingboard@promusicacolumbus.org.

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

Eileen Ryan Hugh Schultz Marquell Segelken Pamela Turrell* Gail Walter Dyann Wesp Cynthia Whitacre* Margie Williams Becky Wright Serie Zimmerman

MUSICIAN MEMBERS Ellen Bowden Georgeann Corey Lindsey Dunleavy Lynn Elliott Nancy Falk Carolyn Fannon* Elizabeth Turrell Farrar Elayne Gunder Marie Michele Johnston Joan Kirschner Linda Kurtz Barbara Ludwig Cindy Mackin Marybeth MacDonald Judy Michaelson Rita Volpe* Erica Zimmerman* * New member

Honorary Members: Mayra Aburto, Patt DeRousie, Judy Pishitelli For noteworthy contributions to the Sustaining Board A perpetual membership has been established for Jennifer M. Keefer (1969-2003), former Executive Director of the ProMusica Chamber Orchestra

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For more than 45 years, ProMusica has enriched our community with its beautiful music, passion for creativity and dedication to education. We are honored to support ProMusica’s work and to play our part in sustaining the arts that bring us all together.

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Béla Fleck Just in case you aren't familiar with Béla Fleck, there are many who say he’s the premiere banjo player in the world. Others claim that Fleck has virtually reinvented the image and the sound of the banjo through a remarkable performing and recording career that has taken him all over the musical map and on a range of solo projects and collaborations. If you are familiar with Fleck, you know that he just loves to play the banjo, and put it into unique settings.

A nineteen-time GRAMMY Award winner, Fleck has the virtuosic, jazz-to-classical ingenuity of an iconic instrumentalist and composer with bluegrass roots. For over 30 years, he has led Béla Fleck and The Flecktones, the groundbreaking quartet inspired by jazz, funk, bluegrass and beyond. From writing three banjo concertos for full symphony orchestra to exploring the banjo’s African roots with the award-winning 2009 documentary Throw Down Your Heart, many tout that Béla Fleck is the world’s premier banjo player. As Jon Pareles wrote for The New York Times, “That’s a lot of territory for five strings.”

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Collaborators include Abigail Washburn, the Brooklyn Rider String Quartet, Chris Thile, The Blind Boys of Alabama, McCoy Tyner, Zakir Hussain, Edgar Meyer, and Rakesh Chaurasia (their latest album As We Speak won two GRAMMYs in 2024).

Fleck’s album Rhapsody in Blue was released February 12, 2024 on the centennial of the work’s premiere in New York City, and he debuted it at Carnegie Hall with an orchestra in May. His GRAMMY-winning project My Bluegrass Heart, is named in honor of his friend and hero Chick Corea (My Spanish Heart).

Béla and Chick have toured as a duo and released three acclaimed albums, including their latest and final duo project, Remembrance (2024), which earned a GRAMMY for Best Jazz Instrumental Album.

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Photo: Hazel Coonagh

October Guest Artist

October Featured Composer

Paul Rissmann Born on the Isle of Bute, Scotland Paul Rissmann is an awardwinning composer, presenter, music educationalist, and host of ProMusica's NAKED CLASSICS. He studied composition and classical saxophone at the Royal Academy of Music, Guildhall School of Music and Drama and the Royal Conservatoire of Scotland. He currently holds the positions of Animateur with the London Symphony Orchestra and Children’s Composer in Residence for Music in the Round.

Frequently commissioned to transform children’s literature into symphonic scores, Paul won a British Composer’s Award in 2012 and was nominated for an Ivor Novello Composer Award in 2020.

ABC Classics recorded his musical adventure Stan and Mabel, and his setting of Kobi Yamada’s New York Times bestseller What Do You With An Idea? was recently released online. In July 2023, the London Symphony Orchestra released a recording of his concert suites inspired by Alice’s Adventures in Wonderland and Through the Looking-Glass.

Paul’s music has been performed by orchestras all over the world, including by the London Philharmonic Orchestra, New York Philharmonic, Luxembourg Philharmonic, Philharmonia Orchestra, Adelaide Symphony Orchestra, Melbourne Symphony Orchestra, Scottish Chamber Orchestra, Royal Scottish National

Orchestra and Orchestre National du Capitole de Toulouse.

Passionate about music education, Paul is equally comfortable making music in a primary school or explaining the intricacies of Stravinsky’s motor rhythms to an audience of adults. His work in this field has received awards from both the Royal Philharmonic Society and the Royal Television Society. Paul appeared as creative director in a Channel 4 (UK) documentary Addicts’ Symphony, which explored how music can be therapeutic in overcoming addiction.

Paul creates and performs bespoke orchestral events for people of all ages which range from full-scale orchestral concerts for young listeners to a critically acclaimed series of music discovery concerts for adults called Naked Classics. He has guest presented Classics Unwrapped for BBC Radio Scotland, Inside Music for BBC Radio 3 and dissected the world of opera for Glyndebourne in Behind the Curtain.

Paul has appeared with the New York Philharmonic, Vienna Philharmonic, London Symphony Orchestra with Simon Rattle, Esa-Pekka Salonen and the Philharmonia Orchestra, Andris Nelsons and the City of Birmingham Symphony Orchestra and toured India with Nicola Benedetti and BBC Scottish Symphony Orchestra.

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D AV I D D A N Z M AY R The Wayne P. Lawson, PhD & William Mitchell, MD Music Director VIOLINS

Katherine McLin, concertmaster The Michael Jones & Jody Croley Jones Chair Rebecca Willie, assistant concertmaster The Kathryn D. Sullivan Chair Jennifer Ross, principal second The Brachman Smith Family Chair **Amy Cave The Randy & Marilyn Miller Chair Kirstin Greenlaw+ Eric Kline The Jim & Ida Copenhaver Ginter Chair Solomon Liang The Laurie & Thomas W. Hill Chair William Manley The Fran Luckoff Chair Victoria Moreira The Dyann & E. Joel Wesp Chair Téa Prokes+ The Deborah Raita Chair Koko Watanabe The Sallie J. Sherman Chair

VIOLAS

Elias Goldstein, principal The Amy Thompson & Stephen Fechtor Chair **Mary Harris The Margaret & Jerome Cunningham Chair David Rose+ The Keith F. & Katherine B. Dufrane Trust Chair Michael Isaac Strauss The Anne Powell Riley Chair

VIOLONCELLOS

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

BASSES

HARPSICHORD

FLUTES

ASSISTING MUSICIANS

John Pellegrino, principal The John F. Brownley Chair Boris Astafiev+ Nadine Hur, principal The Dana Navin Schultz Chair Anthony Trionfo The Miriam & Bernard Yenkin Chair

OBOES

Donna Conaty, principal The Lee Shackelford Chair Jessica Smithorn The Artie & Alisa Isaac Chair

CLARINETS

Ilya Shterenberg, principal T he Beth Grimes-Flood & Tom Flood Chair Jennifer Magistrelli The Jack & Betsy Farrar Chair

BASSOONS

Ellen Connors, principal The ML Chair Rachael Young The Carolyn Merry & Bob Redfield Chair

HORNS

Stephanie Blaha, principal The Todd S. Swatsler Chair Matthew Oliphant+ The Burkey Family Chair

TRUMPETS

Justin Kohan, principal The Susan L. Quintenz Chair Timothy Leasure The Zunkiewicz Family Chair

TIMPANI & PERCUSSION

Renee Keller, principal The Susan C. Johnson Chair Rajesh Prasad The Bob Redfield & Mary Yerina Chair

HARP

Jeanne Norton, principal The Sustaining Board Chair

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Aya Hamada, principal The ProMusica Board Chair in memory of Ida Copenhaver Immanuel Davis flute John Kurakowa clarinet Evan Lynch clarinet Sarah Lee bassoon Brad Granville horn John Gruber trombone David Roode trombone Sebastian Bell bass trombone Susan Powell percussion Chad Lilley saxophone Michael Cox saxophone James Bunte saxophone Scott Cuellar piano Julian Maddox violin Patrick Miller viola Pei-An Chao cello

ORCHESTRA MANAGER Suzanne Jennison

** Begins the alphabetical listing of string players who participate in a system of rotated seating. +One year appointment The Musicians of the ProMusica Chamber Orchestra are members of, and represented by, the Central Ohio Federation of Musicians, Local 103 of the American Federation of Musicians.

Béla Fleck’s Rhapsody in Blue Béla Fleck, banjo Paul Rissmann, composer David Danzmayr, conductor Southern Theatre // Saturday, October 18 // 7:00 PM Southern Theatre // Sunday, October 19 // 7:00 PM RISSMANN FLOW: Variations Over Time (Commission & World Premiere) 1. Theme 2. Variation: Impression, Sunrise 3. Variation: Vintage Threads 4. Variation: Expressionism 5. Variation: Serial Killer 6. Variation: Maximum Minimalism 7. Variation: Zimmerism 8. v(A)r(I)ation 9. FLOW: Finale GERSHWIN (arr. Fleck)

Rhapsody In Blue Béla Fleck, banjo

Intermission

Intermission lasts 15 minutes BEETHOVEN Symphony No. 1 in C Major, Op. 21

I. Adagio molto – Allegro con brio II. Andante cantabile con moto III. Menuetto (Allegro molto e vivace) & Trio IV. Finale: Adagio – Allegro molto e vivace Support for Paul Rissmann’s commission is made possible by an anonymous donor.

The Opening Weekend Champagne Toast is generously provided by: Stay for Coda: Post-Concert Conversation. Meet the featured artists and learn more about tonight’s program.

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October About the Music FROM THE COMPOSER: Paul Rissmann (b. 1971): FLOW: Variations Over Time Instrumentation: Scored for two flutes (one doubling piccolo), two oboes (one doubling English horn), two clarinets (one doubling bass clarinet), two bassoons, three horns, two trumpets, three trombones, timpani, percussion, harp, piano, and strings Composed: 2025 Duration: 22 minutes It started with sushi.

David Danzmayr and Janet Chen pitched an idea over lunch in Downtown Columbus. Their brief was clear, they wanted “something that illustrates compositional techniques that were developed throughout the 20th century.”

I really liked their concept (lunch was great too) so it wasn’t until the next day that panic set in.

Three things troubled me: • many years ago, as a music student, I had vehemently rejected most of these techniques because they felt ugly or limiting, or both.

• how could I preserve any sense of self if my job was essentially to dress up in other composers' clothes?

• surely the best way to showcase these innovations would be to play music by the composer who actually pioneered them!

Time passed, anxiety increased, and it took a lot more sushi before the idea of FLOW: Variations Over Time was fully formed.

My imposter syndrome was finally tamed by imagining a simple melody that changes style and mood as I embrace a series of new orchestral colours. Of course, none of those colours are new, many are over 100 years old, but they would be new to my palette. The challenge was to paint them into my score, but still feel like the music was mine.

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FLOW presents a series of variations that take the audience from 1900 to the present day in around 22 minutes. In such a short work, it was impossible to honour all the musical innovations that were developed in that time; however I knew I wanted to start by exploring impressionism and end with something bold and cinematic, which I dubbed ‘Zimmerism’ – as in Hans!

However, the problem with that journey is, it doesn’t truly deliver us into the present, not when we now live in a world dominated by A.I. Like many artists, the thought of humanity happily inviting a computer to make creative decisions on their behalf fills me with horror. Even if the technology surpasses anything the most gifted creatives could imagine, does that mean that people should stop dreaming, stop feeling, stop making art?

It was with a huge amount of trepidation that I uploaded the FLOW theme to A.I. One of its compositions is included as part of this concert suite, not out of laziness, but as a representation of the present. While the rest of this work took many months to compose, A.I. made hundreds of variations on my theme in a matter of minutes. It doesn’t even need an orchestra to play it.

George Gershwin (1898-1937): Rhapsody in Blue (arr. Fleck) Instrumentation: Scored for solo banjo, two flutes, two oboes, three clarinets, two bassoons, three saxophones, three horns, two trumpets, three trombones, timpani, percussion, and strings Composed: 1924 Duration: 17 minutes Banjo player extraordinaire, arranger, composer, and musical maverick Béla Fleck probably didn’t need the 100th anniversary of Rhapsody in Blue to inspire his reinterpretations of that classical-jazz masterpiece, but it certainly didn’t hurt. Fleck first heard the iconic work as a seven-year-old when his uncle introduced him to the movie of the same name, which tells the story of George Gershwin.

It left an indelible impression on the youngster. Perhaps Fleck saw something of Gershwin in himself, another New York Jew also destined to do great musical things. But above all, there was Gershwin’s brilliant, well-loved score, which so effortlessly imbues a black jazz musical idiom with thrilling, classically inspired piano virtuosity. Decades later, Fleck remains overtly aware of the danger such an undertaking would find today, that is, a white man lifting the music of black culture for his own means. As a banjo player, “everything I do moves within the problematic nature of the harm done along race lines throughout American history.”

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A century ago, when Gershwin dashed off the score, which he did within weeks, there was no “woke” culture, no understood laws of musical property. As a composer, Gershwin, the son of Jewish immigrants, had deeply immersed himself in the rich musical mélange of New York from a young age, studying classical piano, working as a song “plugger” for Tin Pan Alley music publishers, and then gradually arranging and composing his songs for vaudeville and Broadway. In 1919, Gershwin scored his first hit with “Swanee,” a song Al Jolson heard him play and went on to sing himself. Gershwin was, by this time, so enmeshed in the sounds of vaudeville and jazz that when bandleader Paul Whiteman commissioned a piano work from the young composer, a mash-up of these various styles must have seemed the most natural thing in the world.

Gershwin himself described the Rhapsody’s compositional process as a reimagination of the American melting pot in music: “It was on the train, with its steely rhythms, its rattle-ty bang, that is so often so stimulating to a composer...

I frequently hear music in the very heart of the noise. And there I suddenly heard—and even saw on paper—the complete construction of the rhapsody, from beginning to end. No new themes came to me, but I worked on the thematic material already in my mind and tried to conceive the composition as a whole. I heard it as a sort of musical kaleidoscope of America, of our vast melting pot, of our unduplicated national pep, of our metropolitan madness.”

The kaleidoscopic nature can also be noted in the work’s segmented architecture. Rather than adhering to classical form or structure, Gershwin’s music unfolds naturally— hence the term Rhapsody, or rhapsodic—as if it’s a large improvisatory piece in the making (Gershwin had yet to write out the entire piano part for the premiere and so improvised the cadenzas). No less than Leonard Bernstein has commented on the work’s fragmented character or lack of musical “inevitability,” precisely that component that makes Beethoven, Beethoven. “You can cut out parts of it without affecting the whole in any way except to make it shorter. You can remove any of these stuck-together sections and the piece still goes on as bravely as before. You can even interchange these sections with one another and no harm done. You can make cuts within a section, or add new cadenzas, or play it with any combination of instruments or on the piano alone; it can be a five-minute piece or a six-minute piece or a twelve-minute piece. And in fact, all these things are being done to it every day. It's still the Rhapsody in Blue.”

Regardless of the cultural dangers of history, Rhapsody in Blue, alongside Gershwin’s “folk” opera Porgy and Bess,

which has likewise been criticized for its representation and appropriation, remains quintessentially great American art.

The music has been embraced universally, Béla Fleck being but one in a long line of interpreters. In 2024, in celebration of Rhapsody’s centennial, Fleck reimagined Gershwin’s music several times over, both as a vehicle for bluegrass band and, in a more traditional version, by substituting the banjo for piano within the framework of the well-known orchestral score heard tonight, as arranged by composer Ferde Grofé. The cultural twists and turns, however, are never far from Fleck’s mind. As he has written, “America’s music is innovative and full of endless possibilities BECAUSE of the way we are moved by the diversity of thought and culture that we are submerged in. We must face harms done, reclaim histories with truer narratives, and adapt our humanity in this moment to create space, opportunity and justice for voices pushed away from the stages, curricula and fame. We can do this by elevating composers like Duke Ellington in our curricula, teach African and Latin diasporic pulses in the training of classical music. But we still can enjoy Rhapsody as one piece of an illustrious puzzle showing the dawn of a powerful coming together of culture in music.”

Ludwig van Beethoven (1770-1827): Symphony No. 1 in C Major, Op. 21 Instrumentation: Scored for pairs of flutes, oboes, clarinets, bassoons, horns and trumpets, timpani, and strings Composed: 1795 Duration: 26 minutes In 1787, Ludwig van Beethoven passed through the gates of Vienna in search of musical guidance. He hoped to study with Mozart, but shortly arriving in the musical capital, he learned that his mother was dying, and so quickly returned to his native city of Bonn, Germany. Five years later, Beethoven returned to the Austro-Hungarian capital, but as Mozart, too, had since died, the young Beethoven set his sights on learning from the elder Classical statesman, Franz Joseph Haydn. Although not the only figure Beethoven would study with in the years that followed, Haydn was certainly the most famous, especially following the latter’s triumphant return from concerts in London in 1790. Beethoven would butt heads with all his teachers—along with the heads of many other Viennese over the years—and with Haydn things were no different. Years later, Beethoven claimed to have learned nothing from “Papa” Haydn, but we know better.

Haydn had recognized the younger man’s talent and did much to foster it. Such influences are peppered throughout Beethoven’s inaugural symphony, drafted between the years 1795-6.

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Haydn’s musical spirit can be sensed from the first movement’s slow, stately introduction, in the rushing “scherzo” quality of the third, and again in the witty sonata-rondo finale. Indeed, when the First Symphony was premiered, in Vienna in 1800 under Beethoven’s direction, one reviewer found it a “caricature of Haydn pushed to absurdity.” It is not known how Beethoven reacted to such criticism, but as someone bent on distancing himself from Haydn while moving the Viennese symphonic tradition forward, we might safely assume Beethoven was not amused.

The First Symphony may not exhibit the revolutionary traits of the “Eroica” or the Fifth, but it nevertheless contains radical ideas of its own, as evident in the work’s opening chord. Beethoven not only commences with a dissonance, a rare opening move in 1800, but also opens in a key other than his declared tonality of C major. Is he making a joke at his listeners’—or perhaps his players’—expense, another trait inherited from the humorous Haydn? To be sure, the music soon rights itself, swinging toward F major and foreshadowing the “home” key of C. Another mark of the renegade composer was his approach to orchestration, for rather than simply handing much of the material to the upper strings, as was tradition, Beethoven relied heavily on their colleagues in the woodwind section.

He would be taken to task by the critics for his heavy-handed wind writing throughout the First Symphony, but at this stage, Beethoven was intent on exploring new orchestral colors, in addition to exaggerated dynamics and heightened motivic development. Following this unexpected opening gambit, Beethoven begins the inexorable drive toward the Allegro proper, with its greatly anticipated C major resolution. If what unfolds from this point on is arguably more routine—a first theme cut from classical cloth, the strongly contrasting subordinate theme, and a development constructed almost entirely from primary material—the underlying power and accompanying drive reveal precisely those qualities that Beethoven would continuously explore and exploit in each symphony that followed.

label, in reality, it is anything but. As suggested by its Allegro molto e vivace tempo indication (“very fast and lively”), this is hardly the aristocratic 3/4-time minuet of Mozart’s day, but rather a movement that rushes relentlessly toward the finale.

Despite the tremendous forward momentum previously established, Beethoven is not yet ready to deliver on his promise. Instead, he opens his finale with an Adagio, and an absurd one at that, built on nothing more than the most basic scale that adds a note with each repetition. Only when the pitch F is reached, demanding immediate resolution, is the music thrust into the Allegro proper, heralded by a flurry of ascending sixteenths that spill into the good-natured opening theme. What follows is a Haydn-esque creation, combining sophisticated wit and a reliance on a hybrid sonata-rondo form, of which Haydn was the undisputed master (even the theme hints at Haydn’s own Symphony No. 88 finale). Haydn’s miraculous powers of invention, however, were simply not to be outdone by the young upstart, at least not yet. We must remember that Beethoven was testing symphonic waters for the first time—the titanic musical waves were still to come. For now, Beethoven played by the master’s rules. Soon enough, the young Beethoven would put the 18th century behind him, shattering old molds and casting new ones with every symphony that followed.

The courtly atmosphere that opens the second movement may seem reminiscent of the slow movements of Haydn or Mozart, yet Beethoven also offers up clues that he intends to bring increased depth to what was formerly a light-hearted movement. By casting his Andante in a sophisticated sonata form and offering expanded development of his ideas with contrapuntal passagework, a weightiness is achieved in a movement that earlier composers simply looked to as relief from the far more serious strains that preceded it. Similarly, while the third movement harbors a conventional Menuetto

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Terrence Wilson Acclaimed by the Baltimore Sun as “one of the biggest pianistic talents to have emerged in this country in the last 25 years” pianist Terrence Wilson has appeared as soloist with many of the U.S.’ premiere orchestras including those of Atlanta, Baltimore, Cincinnati, Cleveland, Dallas, Detroit, and Philadelphia, among others, under such conductors such as Christoph Eschenbach, Yuri Temirkanov, and Gunther Herbig, among others.

An active recitalist, Terrence Wilson made his New York City recital debut at the 92nd Street Y, and his Washington, DC recital debut at the Kennedy Center.

He has also given recitals at Lincoln Center in NYC, the Ravinia Festival in Chicago, the Caramoor Festival in Katonah, NY, and for the La Jolla Chamber Music Society, among others.

Committed to education, Wilson serves as a member of the piano faculty at the Brevard Music Center Institute and Festival in Brevard, NC. He is also a frequent guest teacher, lecturer and adjudicator in numerous international piano competitions.

Photo Credit: J. Henry Fair

November Guest Artist

Terrence Wilson has received numerous awards and prizes, including the SONY ES Award for Musical Excellence, an Avery Fisher Career Grant, and the Juilliard Petschek Award. In 2011, Wilson was nominated for a Grammy in the category of “Best Instrumental Soloist with an Orchestra”.

Terrence Wilson is a graduate of The Juilliard School, where he studied with Yoheved Kaplinsky. He has also enjoyed the invaluable mentorship of the Romanian pianist and teacher Zitta Zohar. In March 2021, Wilson was appointed to the piano faculty at Bard College Conservatory of Music.

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D AV I D D A N Z M AY R The Wayne P. Lawson, PhD & William Mitchell, MD Music Director VIOLINS

Katherine McLin, concertmaster The Michael Jones & Jody Croley Jones Chair Rebecca Willie, assistant concertmaster The Kathryn D. Sullivan Chair Jennifer Ross, principal second The Brachman Smith Family Chair **Amy Cave The Randy & Marilyn Miller Chair Kirstin Greenlaw+ Eric Kline The Jim & Ida Copenhaver Ginter Chair Solomon Liang The Laurie & Thomas W. Hill Chair William Manley The Fran Luckoff Chair Victoria Moreira The Dyann & E. Joel Wesp Chair Téa Prokes+ The Deborah Raita Chair Koko Watanabe The Sallie J. Sherman Chair

VIOLAS

Elias Goldstein, principal The Amy Thompson & Stephen Fechtor Chair **Mary Harris The Margaret & Jerome Cunningham Chair David Rose+ The Keith F. & Katherine B. Dufrane Trust Chair Michael Isaac Strauss The Anne Powell Riley Chair

VIOLONCELLOS

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

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BASSES

John Pellegrino, principal The John F. Brownley Chair Boris Astafiev+

FLUTES

Nadine Hur, principal The Dana Navin Schultz Chair Anthony Trionfo The Miriam & Bernard Yenkin Chair

OBOES

Donna Conaty, principal The Lee Shackelford Chair Jessica Smithorn The Artie & Alisa Isaac Chair

CLARINETS

Ilya Shterenberg, principal T he Beth Grimes-Flood & Tom Flood Chair Jennifer Magistrelli The Jack & Betsy Farrar Chair

BASSOONS

Ellen Connors, principal The ML Chair Rachael Young The Carolyn Merry & Bob Redfield Chair

HORNS

Stephanie Blaha, principal The Todd S. Swatsler Chair Matthew Oliphant+ The Burkey Family Chair

TRUMPETS

Justin Kohan, principal The Susan L. Quintenz Chair Timothy Leasure The Zunkiewicz Family Chair

TIMPANI & PERCUSSION

Renee Keller, principal The Susan C. Johnson Chair Rajesh Prasad The Bob Redfield & Mary Yerina Chair

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HARP

Jeanne Norton, principal The Sustaining Board Chair

HARPSICHORD

Aya Hamada, principal The ProMusica Board Chair in memory of Ida Copenhaver

ASSISTING MUSICIANS Immanuel Davis flute John Kurakowa clarinet Galina Kiep bassoon Stephen Laifer horn Brendon Phelps cello

ORCHESTRA MANAGER Suzanne Jennison

** Begins the alphabetical listing of string players who participate in a system of rotated seating. +One year appointment The Musicians of the ProMusica Chamber Orchestra are members of, and represented by, the Central Ohio Federation of Musicians, Local 103 of the American Federation of Musicians.

Saint-Saëns & Schubert Terrence Wilson, piano David Danzmayr, conductor Southern Theatre // Saturday, November 8 // 7:00 PM Southern Theatre // Sunday, November 9 // 7:00 PM

FRANK Elegía Andina

SAINT-SAËNS Piano Concerto No. 2 in G minor, Op. 22 I. Andante sostenuto II. Allegro scherzando III. Presto

Terrence Wilson, piano

Intermission

Intermission lasts 15 minutes

SCHUBERT Symphony No. 4 in C minor, D. 417 “Tragic” I. Adagio molto – Allegro vivace II. Andante

III. Menuetto (Allegro vivace) & Trio IV. Allegro Stay for Coda: Post-Concert Conversation. Meet the featured artists and learn more about tonight’s program.

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November About the Music

Comprised of two outer orchestral sections bookending the unaccompanied flute duet, Elegía Andina illustrates Frank’s flair for crafting musical kaleidoscopes of color and rhythm.

Camille Saint-Saëns (1835-1921): Piano Concerto No. 2 in G minor Gabriela Lena Frank (b. 1972): Elegía Andina Instrumentation: Scored for pairs of flutes, oboes, clarinets, bassoons, trumpets, and horns, timpani, percussion, and strings Composed: 2000 Duration: 13 minutes

Gabriela Lena Frank perfectly embodies what it means to be a successful composer of mixed heritage in America. Of Chinese-Peruvian-Spanish descent, her life growing up was “filled with Chinese stir-fry cuisine, Andean nursery songs, and frequent visits from our New York-bred Jewish cousins,” flavors that went on to influence much of what she has written. Frank has also expertly navigated her way through a crowded and challenging contemporary music market.

The winner of numerous prizes, including a Guggenheim Fellowship and a Latin GRAMMY, Frank has been awarded commissions by, served residencies with, and performed alongside many of the foremost orchestral institutions in the U.S. She has also collaborated with the Kronos Quartet, Lincoln Center and Yo-Yo Ma’s Silk Road Ensemble, with which she is a member.

Frank has described her Elegía Andina (Andean Elegy) as “one of my first written-down compositions to explore what it means to be of several ethnic persuasions, of several minds.

It uses stylistic elements of Peruvian arca/ira zampoña panpipes (double-row panpipes, each row with its own tuning) to paint an elegiac picture of my questions. The flute part [heard as an extended flute duo approximately 2/3 through the composition] was particularly conceived with this in mind, but was also inspired by the technical and musical mastery of Floyd Hebert, principal flutist of the Albany Symphony Orchestra.”

The music opens mysteriously and cinematically, building quickly in volume and intensity. Technically, Frank relies on small, repetitive fragments as anchors for larger blocks of sound, effectively engaging the entire orchestra.

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Instrumentation: Scored for pairs of flutes, oboes, clarinets, bassoons, horns, trumpets, timpani, strings, and solo piano Composed: 1868 Duration: 26 minutes Described by music critic Harold Schoenberg as “the most remarkable child prodigy in history, and that includes Mozart,” Saint-Saëns displayed perfect pitch and began picking out tunes on the piano at the age of three. He would go on to live another eighty-three years, a gift he used to his advantage. By the time he died at age 86, Saint-Saëns had amassed a portfolio of over 300 works, many of which quickly took their place in the standard repertoire, including thirteen operas (among them Samson and Delila), symphonies (including the Organ Symphony), and symphonic poems (Dance macabre), chamber music, his famous Carnival of the Animals, vocal, choral and keyboard works, concerti and so on.

The life of Saint-Saëns was one of paradoxes. Though he possessed a keyboard technique that could easily have launched a career as a piano virtuoso—he made his piano debut at the age of ten, performing concertos

by Mozart and Beethoven—he followed a rather conventional path, serving for twenty years as organist of La Madeleine, the official church of the French Empire.

Thereafter, he pursued a career as a highly sought-after composer and composition teacher. He admired the progressive music of Richard Wagner and Hungarianborn Franz Liszt but found little to like in the music of his French Impressionist colleagues. About Debussy, SaintSaëns quipped, “We must at all costs bar the door of the Institut against a man capable of such atrocities,” and Darius Milhaud’s polytonality prompted the response, “Fortunately, there are still lunatic asylums in France.” He thought Stravinsky insane. And despite living well into the 20th century, Saint-Saëns remained musically tethered to the 19th, even if he occasionally sought to explore music’s formal outlines (evident in this evening’s concerto).

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Saint-Saëns may have lacked that divine spark granted Mozart or Schubert, but nevertheless produced brilliant, impressively crafted music by relying on sweeping melodies, expert pacing, and, when necessary, dramatic power. His Second Piano Concerto is a perfect example of everything Saint-Saëns brought to the table. Rather than beginning with a fast movement, the score opens Andante sostenuto (Moderate and sustained), with a Bach-inspired fantasia. When the orchestra finally enters, it does so with a broad theme borrowed from one of his composition students, Gabriel Faurè. But the piano maintains its hold on the limelight and indeed closes the movement with another extended solo cadenza.

The clever Allegro scherzando is characterized by two ideas, both derived from the material of the first movement—that heard at the start of the playful opening, featuring dazzling pianistic scales and cascades, and a broad theme offered up by the strings and set to a droll piano accompaniment. Rather than truly developing these ideas, Saint-Saëns plays them off against each other by relying on the colors of the orchestra, creating a brilliant backdrop to the virtuoso keyboard. The dramatic character of the Presto finale is established in the pianist’s triplet opening notes, serving as the basis for the relentless propulsion of this tarantella, a frenetic Italian dance beloved by the Romantics. Though again drawing on the concerto’s basic material, it is so transformed as to be all but unrecognizable.

Ultimately, it is the captivating keyboard writing that holds our attention. Indeed, it was so demanding that even Saint-Saëns is said to have struggled with portions. Owing to the circumstances of the work’s composition, he had but three weeks to compose the concerto and learn the piano part, which he played for the premiere. Predictably, things did not go particularly well, and Saint-Saëns later confessed that he had played poorly. But, as with so much of the composer’s music, its attractiveness and rock-solid craftsmanship all but guaranteed it a place in the repertoire and it has proven a favorite of pianists and audiences alike ever since.

Franz Schubert (1797-1828): Symphony No. 4 in C minor, D. 417, “Tragic”

Instrumentation: Scored for pairs of flutes, oboes, clarinets, bassoons, trumpets, four horns, timpani, and strings Composed: 1816 Duration: 20 minutes “Who can do anything after Beethoven?” Schubert asked in utter hopelessness, reflecting the uphill battle composers faced in turn-of-the-century Vienna. Never mind how Beethoven must have felt following in the musical footsteps of Mozart and Haydn. To be taken seriously as a composer, one needed to reinvent what music could do while working within a framework that listeners could understand and appreciate. Beethoven had several advantages not inherited by Schubert: he was stubborn and self-assured, a formidable pianist, and lived to be fifty-seven, albeit his health and hearing often made life miserable. Schubert, who would only live to see his thirty-first year, was…a violist (insert viola joke here!). He played piano as well, though was no virtuoso. Still, Schubert had something that few composers of any age possessed—natural genius.

Melodies poured out of him unceasingly from an early age, and he quickly learned how best to bottle such lyricism. For Schubert, it was simply a matter of getting the tunes out quickly enough. In a lifetime half as long as it should have been, Schubert produced twice as much as most others.

Schubert was but nineteen when he set to work on what would become the fourth of his nine symphonies. His incorporation of four horns suggests he, like Beethoven, was looking to expand the size of the orchestra, but posterity offers no additional clues about why the work was composed. We know only that the first public performance of the “Tragic” took place in Leipzig in 1849, more than two decades following the composer’s death. Although Schubert attached the label “Tragic” to his latest offering, its darker moments are arguably more dramatic than tragic, perhaps reflecting Schubert’s attempt to infuse the score with Sturm und Drang, the characteristics of “storm and stress” as practiced by an earlier generation of composers.

We must also keep in mind that at the time of the

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symphony’s composition, the composer was still a young man and perhaps given to a bit of pretention. Thus, despite the occasional dark cloud, much of the symphony’s mood is enchanting and cheerful.

The slow introduction opens with a single fortissimo C spread across the entire orchestra, a bold, dramatic, even Beethovenian gambit proclaiming neither major nor minor tonality. The scoring invites mystery and perhaps suggests that Schubert’s harmonies can—and often do—turn on a dime. The violins next introduce a dark phrase characterized by leaps and half-step dissonances—intervals crafted for their torturous effect.

But Schubert soon resolves matters on a G-flat Major chord, underscoring two critical elements of the symphony as a whole: he plans to traverse unexpected harmonic terrain (G-flat Major is quite removed from the symphony's overall key of C minor), and that tragedy ultimately will not carry the day.

The introduction complete, Schubert returns to the dramatic realm of C minor at the start of the Allegro vivace.

He now presents several thematic ideas closely associated with the introduction’s opening violin melody, including a running group of eighth notes and an accented falling gesture that immediately follows, the latter characterized by the quick turn at its outset. A secondary idea, a tight, rocking gesture, is introduced after seventy bars, again by the violins. Listen as the music swiftly tours the tonal worlds of D-flat, E-flat, F, and A-flat. At the outset of the development section—signaled by a brief caesura— Schubert completely clouds the tonality, then winds through still more keys—B-flat minor, G-flat, and finally C-flat. Rather than return to the “proper” key of C minor, Schubert now recapitulates the opening material in G minor, before launching into an extended coda in the sunny key of C Major! Schubert has demonstrated a stunning command of harmony, but where, exactly, is the tragedy?

simple movement lively. The intensely chromatic motive heard at the outset of the third movement Menuetto plays with a constantly shifting bar line, much as Beethoven had done. Though set in 3/4 time, Schubert often stresses the third beat of the bar, creating a confusing sense of a meter. Thus, between the weakened harmonic gravity and the displaced bar line, this dance is kept entirely off balance. The contrasting Trio temporarily sets things right, as winds, then strings, vie for the lyrical ländler melody. This 3/4 dance, associated with German and Austrian peasant life, was a favorite of the composer. It featured a downbeat hop, which Schubert emphasizes by a noticeable avoidance of a third beat accompaniment.

The finale, marked simply Allegro, again conjures up the agitated world of C minor. A rising bassoon arpeggio launches the impassioned violin melody, set atop a driving string accompaniment, whose fourth-beat accents add extra intensity. But the tempestuous mood will not persist. Already with his second statement, Schubert swings to the major mode. Almost jokingly, strings and winds begin tossing around a two-note figure and then a quick four-note fragment from the opening idea that Schubert drives higher and higher. A silent bar announces the repeat of this sonata form’s exposition and likewise, the start of the development, wherein Schubert presents an uncomplicated review of his material. If the starts and stops suggest the humorous world of Haydn, the tonal excursions remain vintage Schubert. A bassoon arpeggio announces the recapitulation before swinging toward the joyous key of C Major that closed the first movement. It is Schubert’s final coup, confirming once and for all that his “Tragic” Symphony is anything but!

The charming Andante illustrates the lyrical gifts that so effortlessly sprang from Schubert’s pen. Note the two sharply defined characters: a gentle A-flat Major theme marked dolce (sweetly), clearly derived from the opening Allegro, and an agitated F minor section which repeatedly draws on the falling motive from the movement’s opening violin theme. Despite the composer’s obsessive reliance on the latter, his rich wind coloration keeps this otherwise

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© Marc Moskovitz marcmoskovitz.org

WISHING YOU A FANTASTIC SEASON, PROMUSICA!

Photo: Lim Jong Jin

December Guest Artist

Mark Kosower A modern player with a “signature sound” and distinctive style of playing, cellist Mark Kosower embodies the concept of the complete musician performing as concerto soloist with symphony orchestras, in solo recitals, and as a much admired and sought-after chamber musician. He is Principal Cello of The Cleveland Orchestra and a scholar and teacher of cello. Mark’s performance repertoire and discography are testaments to a deep devotion, not only to frequently heard repertoire such as Tchaikovsky’s Rococo Variations and concertos of Haydn, Walton, Elgar and Dvořák but, significantly, to less well-known concertos of Alberto Ginastera, Miklos Rozsa, Frederich Gulda, and Victor Herbert. Mr. Kosower has recorded for the Ambitus, Delos, Naxos International and VAI labels, including as the first cellist to record the complete music for solo cello of Alberto Ginastera (Naxos).

He was described as a “powerful advocate of Ginastera’s art”

by MusicWeb International, and Strings Magazine noted of his Hungarian music album (also with Naxos) that “the music allows Kosower to showcase his stunning virtuosity, passionate intensity, and elegant phrasing.”

In recent seasons Mr. Kosower has been guest soloist with the Buffalo Philharmonic, the Canton Symphony, the Columbus Symphony, ProMusica Chamber Orchestra, the Hawaii Symphony, the Dayton Philharmonic, the Indianapolis Symphony, the Naples Philharmonic, the Phoenix Symphony, and the Toledo Symphony among others in addition to twentytwo concerto appearances with The Cleveland Orchestra. He has performed as soloist with Herbert Blomstedt, Sir Andrew Davis, Christoph Eschenbach, and Franz Welser-Möst.

In 2017 Mark Kosower launched Bach for Humanity, an initiative that aims to bring people together though Bach’s music in presentations for diverse socioeconomic groups in churches, community organizations, educational institutions, homeless shelters, performing arts series, radio and television stations, and retirement communities. For three years Mr. Kosower performed the complete cello suites and his own transcriptions of the violin sonatas and partitas for cello to widespread acclaim in both conventional and nonconventional venues such as the Cleveland Cello Society, the Cleveland School of the Arts, Judson Manor, and the Cosgrove Center for the homeless. During the Coronavirus pandemic Mark Kosower performed two livestream performances of the Bach Cello Suites from Trinity Cathedral in Cleveland to raise money for Covid-19 victims and as part of Bach for Humanity. Other activities during the pandemic included live and recorded chamber music performances for the North Shore Chamber Music Festival’s Onstage/Offstage series and for the Seattle Chamber Music Society in addition to other recordings and numerous social media projects.

Mark Kosower has appeared internationally as soloist with the Rotterdam Philharmonic, the Orchestre de Paris, the Hong Kong Philharmonic, the China National Symphony Orchestra in Beijing, the National Symphony Orchestra of Taiwan, the Brazilian Symphony Orchestra, and the Venezuelan Symphony Orchestra among others. In the United States he has appeared with the symphony orchestras of Detroit, Florida, Grand Rapids, Houston, Milwaukee, Minnesota, North Carolina, Oregon, Seattle, Virginia, the Ravinia Festival and St. Paul chamber orchestras, and has given recitals at The Kennedy Center, the Philadelphia Chamber Music Society, the National Gallery of Art, and on the Great Performer’s Series at Lincoln Center. Mark Kosower is a frequent guest at international chamber music festivals including the Santa Fe, North Shore, and Colorado College of Music chamber music festivals and has appeared at the Aspen, Eastern, and Pacific Music (of Japan) festivals among many others. His chamber music appearances have included performances with Yefim Bronfman, James Ehnes, Leon Fleisher, Vadim Gluzman, Robert Mann, Janos Starker, Schmuel Ashkenasi, and the Juilliard String Quartet.

Formerly Solo Cellist of the Bamberg Symphony in Germany, Mr. Kosower teaches a series of master classes at Hidden Valley Music Seminars in Carmel Valley each summer and is on the faculty at Carnegie Hall’s NYO-USA program and the Colorado College of Music Summer Music Festival. He has also worked with students in lessons and master classes around the world including the New World Symphony fellows, the Shanghai Orchestra Academy, and the Baccareli Institute of São Paulo and has been on the faculties at the Cleveland Institute of Music and the San Francisco Conservatory.

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D AV I D D A N Z M AY R The Wayne P. Lawson, PhD & William Mitchell, MD Music Director VIOLINS

Katherine McLin, concertmaster The Michael Jones & Jody Croley Jones Chair Rebecca Willie, assistant concertmaster The Kathryn D. Sullivan Chair Jennifer Ross, principal second The Brachman Smith Family Chair **Amy Cave The Randy & Marilyn Miller Chair Kirstin Greenlaw+ Eric Kline The Jim & Ida Copenhaver Ginter Chair Solomon Liang The Laurie & Thomas W. Hill Chair William Manley The Fran Luckoff Chair Victoria Moreira The Dyann & E. Joel Wesp Chair Téa Prokes+ The Deborah Raita Chair Koko Watanabe The Sallie J. Sherman Chair

VIOLAS

Elias Goldstein, principal The Amy Thompson & Stephen Fechtor Chair **Mary Harris The Margaret & Jerome Cunningham Chair David Rose+ The Keith F. & Katherine B. Dufrane Trust Chair Michael Isaac Strauss The Anne Powell Riley Chair

VIOLONCELLOS

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

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BASSES

John Pellegrino, principal The John F. Brownley Chair Boris Astafiev+

FLUTES

Nadine Hur, principal The Dana Navin Schultz Chair Anthony Trionfo The Miriam & Bernard Yenkin Chair

OBOES

Donna Conaty, principal The Lee Shackelford Chair Jessica Smithorn The Artie & Alisa Isaac Chair

CLARINETS

Ilya Shterenberg, principal T he Beth Grimes-Flood & Tom Flood Chair Jennifer Magistrelli The Jack & Betsy Farrar Chair

BASSOONS

Ellen Connors, principal The ML Chair Rachael Young The Carolyn Merry & Bob Redfield Chair

HORNS

Stephanie Blaha, principal The Todd S. Swatsler Chair Matthew Oliphant+ The Burkey Family Chair

TRUMPETS

Justin Kohan, principal The Susan L. Quintenz Chair Timothy Leasure The Zunkiewicz Family Chair

TIMPANI & PERCUSSION

Renee Keller, principal The Susan C. Johnson Chair Rajesh Prasad The Bob Redfield & Mary Yerina Chair

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HARP

Jeanne Norton, principal The Sustaining Board Chair

HARPSICHORD

Aya Hamada, principal The ProMusica Board Chair in memory of Ida Copenhaver

ASSISTING MUSICIANS Julia Paine bassoon Andrew Jeng trumpet Christopher Blaha tuba Julie Licata percussion Antoine Fatout drumset Stan Smith acoustic guitar Ryan Behan celesta

ORCHESTRA MANAGER Suzanne Jennison

** Begins the alphabetical listing of string players who participate in a system of rotated seating. +One year appointment The Musicians of the ProMusica Chamber Orchestra are members of, and represented by, the Central Ohio Federation of Musicians, Local 103 of the American Federation of Musicians.

Mozart & Gulda Mark Kosower, cello David Danzmayr, conductor Southern Theatre // Saturday, December 13 // 7:00 PM Southern Theatre // Sunday, December 14 // 7:00 PM STILL The American Scene: Suite No. 1 “The East” I. On the Village Green (Graceful dancers) II. Berkshire Night (Tranquility) III. Manhattan Skyline (New York, the gracious city)

GULDA Concerto for Cello and Wind Orchestra I. Ouverture II. Idyll III. Cadenza IV. Menuett V. Finale Alla Marcia

Mark Kosower, cello

Intermission

Intermission lasts 15 minutes MOZART Symphony No. 22 in C Major, K. 162 I. Allegro assai II. Andante grazioso III. Presto assai MOZART Symphony No. 35 in D Major, K. 385 “Haffner” I. Allegro con spirito II. Andante III. Menuetto & Trio IV. Presto Stay for Coda: Post-Concert Conversation. Meet the featured artists and learn more about tonight’s program.

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December About the Music William Grant Still (1895-1978): The American Scene: Suite No. 1 “The East”

Instrumentation: Scored for pairs of flutes, oboes, clarinets and bassoons, horns and trumpets, trombone, tuba, timpani, percussion, harp, celesta, and strings Composed: 1957 Duration: 11 minutes A student at the Oberlin Conservatory of Music who assisted the janitor to help make ends meet, Mississippiborn William Grant Still later joined the navy before moving to Harlem, where he played with and arranged music for dance bands. Still caught his first musical break with his “Afro-American” Symphony No. 1, debuted by the Rochester Philharmonic in 1931 and subsequently performed in New York, Chicago, Los Angeles, Berlin, Paris, and London. And by the time he received the commission for what became The American Scene, Still had composed music for the New York World’s Fair (1939) and the New York City Opera, led the Los Angeles Philharmonic in his music, and had made soundtrack arrangements for major studio films (Pennies from Heaven, Stormy Weather).

Consisting of five individual suites—The East, The South, The Old West, The Far West, and finally, A Mountain, a Memorial, and a Song—Still’s The American Scene was his grand attempt at capturing the essence of America in sound. Each suite is comprised of three movements, and “The East,” performed this evening, lasts about ten minutes.

I. O n the Village Green: This lush opening movement evokes an earlier, simpler time.

Crafting an idyllic landscape, Still separates the winds and strings in this lilting 3/4 time dance.

II. Berkshire Night: A laid-back, nocturnal movement which, despite its geographical setting in the American highlands, nevertheless displays echoes of Still’s Afro-American blues roots.

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III. Manhattan Skyline: Despite its title, the final movement of Still’s suite captures the downto-earth New York of George Gershwin, whether the Ford Model A’s honking down Broadway, glitzy flappers, or the frenetic, flashy, and never-ceasing nightlife of Times Square.

Friedrich Gulda (1930-2000): Concerto for Cello and Wind Orchestra

Instrumentation: Scored for solo cello, flute, two oboes, two clarinets, bassoon, two horns, two trumpets, trombone, tuba, drum set, acoustic guitar, and bass Composed: 1980 Duration: 30 minutes If the name Friedrich Gulda remains relatively unknown on this side of the Atlantic, it is largely a consequence of geography and no reflection on his talent or ability.

Indeed, the late Austrian pianist and composer was among the most talented of his generation, if also one of the most unorthodox. In 1999, for example, he announced his death in the press to mark a forthcoming performance as a resurrection party. Gulda’s formal piano studies commenced at age 7. He went on to win the Geneva International Music Competition at age 16, and his early professional years were marked by noted piano performances of the music of Bach, Mozart, and Beethoven. But Gulda maintained a strong interest in jazz, as much for its rhythmic and improvisatory freedom as for the escape it offered him from the academic approach of his schooling. By the 1950s jazz had become a major factor in his playing and musical thought, leading to concerts at Birdland in New York and the Newport Jazz Festival, performances aside jazz giants Chick Corea and Herbie Hancock, and compositions inspired by works as diverse as “Round Midnight,” Miles Davis’ “Put Your Foot Out,” and the Doors’ “Light My Fire.”

The Cello Concerto, which dates from 1980, is unlike anything else in the repertoire. Gulda’s inspiration ranges from the jazz club and beer hall to the out-of-doors. He rejects the typical string section in favor of a modest-sized wind band and drum set. And instead of the traditional three movements normally associated with the concerto, Gulda constructed a symmetrical, five-movement arch,

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with a cadenza at the center. On either side, Gulda places dance movements, bookended in turn by the high-spirited outer movements. The cello writing, while challenging, is ideally suited to the instrument, whose range and lyrical qualities are wonderfully exploited.

Throughout, Gulda weaves a wealth of ideas that are distinctive, clever, alluring, and wholly unique.

The Overture is framed by a bold opening theme heralded by the cello alone, an easily recognizable motto that returns at pivotal moments to set off the contrasting, lyrical secondary theme and signal the movement’s exposition, development, and recapitulation. While a reflection of Gulda’s classical pedigree, it is nevertheless deftly absorbed into a movement otherwise dominated by the 12-bar blues progression launched on the heels of the cellist’s opening bars.

There follows a pastoral Idyll, an exquisite musical poem whose mood is established at the outset by the horns.

The middle section is characterized by a rustic Ländler, a 3/4-time dance associated with Austrian peasant life that Gulda fittingly serves up to the woodwinds.

An unabashedly romantic theme follows, given over exclusively to the soloist, who then embellishes the Ländler with new contrapuntal lines. The poetic strains of the Idyll round out the movement, but the jaunty Ländler seems intent on having the final say.

There follows an extended cadenza for the soloist, which begins casually enough before moving into a more progressive terrain. The cadenza segues directly into the charming Menuett, the concerto’s shortest movement, a tongue-in-cheek nod to the Renaissance involving cello, guitar, tambourine, and upper winds. The brilliant finale reflects Gulda’s humor throughout, as he pokes fun at the sounds of Austrian life, juggling a brassy beer hall polka with a yodeler (cello soloist) atop the Alps. At the movement’s core are some down-and-dirty riffs and sounds of freight trains, backed by snare and double bass and answered by muted trumpets, further evidence of Gulda’s unfettered musical flair. From here, we are swept back into Austria’s beer halls and Alps once more, before the concerto’s breathtaking, brilliant conclusion.

Wolfgang Amadeus Mozart (1756-1791): Symphony No. 22 in C Major, K. 162

Instrumentation: Scored for piano, pairs of oboes, horns, and trumpets, and strings Composition: 1773 Duration: 10 minutes

By April of 1773, the year the C Major Symphony heard this evening was composed, Mozart had compiled a vast portfolio of compositions, including—but not limited to— church music, seven operas, a piano concerto, a violin concerto, music for solo piano, music for violin and piano and about two dozen symphonies, six of which were composed in 1773 alone! Mozart was now seventeen years old. Since the age of five, he had been repeatedly paraded around Europe to perform for royalty, trips that also allowed the prodigy to encounter music beyond the walls of his small town of Salzburg. Particularly influential were the music of the Mannheim school, whose court boasted one of orchestra Europe’s leading orchestras, and the Italians.

This was the era of the three-movement symphony, or sinfonie, the outgrowth of a single-movement work in three sections, generally fast-slow-fast in tempo. These were the early days of what became known as the Classical era, or among art historians as the Rococo. And like the art, the music was meant to be light, pleasing, entertaining.

In March of 1773, Mozart returned with his father from Italy and was immediately employed by the Prince-Archbishop of Salzburg, Hieronymus Collerado, the same man for whom Mozart’s father had long worked. Mozart’s 22nd Symphony was among the first things he composed in his new position, and while we know nothing about its early history, it would no doubt be performed by the Salzburg court orchestra.

The influences from abroad are clearly evident from the start, including its three-movement structure, the heightened use of winds (borrowed from the Mannheimers), and the dominant violin writing, common among the Italians. One imagines the prodigious teenager crafting this rather traditional three-movement score within a matter of days—or even hours!—nothing too demanding for the players or the courtly audience, but simply light, energetic, and charming music.

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W.A. Mozart: Symphony No. 35 in D Major, K. 385 “Haffner” Instrumentation: Scored for pairs of flutes, oboes, clarinets, bassoons, horns and trumpets, timpani, and strings Composed: 1782 Duration: 23 minutes

In 1777, the twenty-one-year-old Mozart, ignoring his father’s advice, resigned from his post in Salzburg and headed out again, this time with his mother, hoping to secure employment elsewhere. He stopped again in Mannheim, where he met and fell in love with the German soprano, Aloysia Weber. Later, failing to win her hand, he trained his attentions on Aloysia’s younger sister Constanze, whom he eventually married, though this all was still in the future. From Mannheim, Mozart traveled on to Paris, but life soon began to spiral out of control. When hopes for employment failed to materialize, he succumbed to debt and began pawning what few valuables he had.

And while in the French capital, his mother succumbed to an undiagnosed illness and died two weeks later.

During his absence, Mozart’s father had been pulling strings back in Salzburg and secured for his brilliant son the posts of court organist and concertmaster of the court orchestra (for which Mozart had written his 22nd symphony years earlier), for which Mozart would earn an annual salary of 450 florins. Having failed to find employment elsewhere, Mozart retreated to Salzburg and took up his new posts in January of 1779. Yet, despite his prestigious positions, he remained discontent with the Salzburg music scene and his relationship with Archbishop Collerado, his employer, became increasingly strained.

Over the next few years, Mozart gradually sought—and found—musical success elsewhere, particularly in Munich and Vienna. In 1781, he threw his lot in with Vienna.

entirely clear if Mozart succeeded with the deadline, but

by December of that year, he requested that his father return the music. Mozart now reworked the serenade, dropping several movements, adding instruments such as flutes and clarinets, and spinning it into the four-movement symphony heard this evening.

From the very start of the D Major Symphony, we can fully appreciate just how far Mozart had traveled musically since the days of the C Major Symphony heard earlier. The Allegro con spirito opens with a grand unison statement by the entire orchestra, which he wrote “should be played with fire.” Composed in sonata form, the movement is tight knit, made more so by Mozart’s decision to forgo the customary repeat of the exposition and encompassing a shortened development section (hinting at D minor before moving into the remote key of F# Major).

The lilting Andante second movement is rich in Mozartean charm, and listening to this music, one can only imagine how fortunate those in the audience must have felt at Mozart’s decision to hang out his shingle in their city. His stock rose still higher with the courtly Minuet, the stately, 3/4-time dance which had become de rigueur among Viennese composers writing four-movement symphonies.

Writing home to his father, Mozart indicated that the finale, marked simply “Presto,” was to be played as fast as possible! Constructed in rondo form (a repeating opening statement), note the movement’s unmistakable operatic character, a consequence of Mozart having been immersed in his Singspiel The Abduction of the Seraglio only two weeks before composing this symphony.

The “Haffner” Symphony experienced a successful premiere, in March of 1783, on an all-Mozart program at Vienna’s Burgtheater, no doubt convincing the entrepreneurial Mozart that his choice to leave Salzburg for the Austrian capital had been the right one indeed.

Mozart’s ties to the city of his birth, however, remained strong, and in 1782 he received a commission from Sigmund Haffner, whose father had served as mayor of Salzburg. Years earlier, Mozart had composed music—the “Haffner” serenade—for a Haffner daughter’s wedding.

Now, in 1782, he was once again asked for music, this time in celebration of Sigmund Haffner the Younger’s ennoblement. Though “up to his eyeballs” in work in Vienna, Mozart acquiesced and began sending home movements for a new serenade as soon as they were finished. It’s not 38

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© Marc Moskovitz marcmoskovitz.org

Proud to Play a Supporting Role in the ProMusica Chamber Orchestra

Ohio Washington, D.C. Texas Pennsylvania Orange County London Berlin vorys.com

About the Program Notes Author

Marc Moskovitz Marc Moskovitz maintains a varied career as both a professional cellist and author. In addition to serving as principal cellist of the ProMusica Chamber Orchestra, he performs regularly with the North Carolina Symphony. Marc has performed and toured with Boston’s Handel and Haydn Society and The Boston Pops, played at the Library of Congress, where he gave the North American premiere of Zemlinsky’s rediscovered Cello Sonata, and has performed as a guest of the Piatti Festival in Bergamo, Italy. His recordings include the music of cello virtuosi David Popper and Alfredo Piatti, both on the VAI label, and premiere recordings of music of Franz Reizenstein and Eric Zeisl (ASV). Marc holds a doctorate and master’s degree from Indiana University and was a Fulbright scholar.

An award-winning author, Marc’s books include Beethoven’s Cello and MEASURE: In Pursuit of Musical Time, which traces the history of musical timekeeping. He has written program notes for orchestras and opera houses on several continents and is a contributor to The New Grove Dictionary of Music and Musicians. The Eyes of Bach, a work of historical fiction about the death of J.S. Bach, was published in the fall of 2024.

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Meet the Musicians

Katherine McLin

Rebecca Willie

concertmaster, 26 years The Michael Jones & Jody Croley Jones Chair Current Residence: Phoenix, AZ

assistant concertmaster, 11 years The Kathryn D. Sullivan Chair Current Residence: Greensboro, NC

Amy Cave

Kirstin Greenlaw +

violin, 11 years The Randy & Marilyn Miller Chair Current Residence: Cleveland, OH

violin, 1st year Current Residence: Cincinnati, OH

Solomon Liang

William Manley

violin, 7 years The Laurie & Thomas W. Hill Chair Current Residence: Columbus, OH

violin, 20 years The Fran Luckoff Chair Current Residence: Columbus, OH

Jennifer Ross

principal second, 8 years The Brachman Smith Family Chair Current Residence: Jackson, WY

Eric Kline

violin, 14 years The Jim & Ida Copenhaver Ginter Chair Current Residence: Pickerington, OH

Victoria Moreira

violin, 11 years The Dyann & E. Joel Wesp Chair Current Residence: Chicago, IL

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

Téa Prokes +

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violin, 1st year The Deborah Raita Chair 2 5 - 2 6 S E A S O N | promusicacolumbus.org Current Residence: Columbus, OH

Koko Watanabe

violin, 8 years The Sallie J. Sherman Chair Current Residence: Columbus, OH

Elias Goldstein

Mary Harris

David Rose +

Michael Isaac Strauss

viola, 2 years The Amy Thompson & Stephen Fechtor Chair Current Residence: Landenberg, PA

viola, 30 years The Margaret & Jerome Cunningham Chair Current Residence: Oxford, OH

viola, 1st year The Keith F. & Katherine B. Dufrane Trust Chair Current Residence: Fredonia, NY

viola, 10 years The Anne Powell Riley Chair Current Residence: San Diego, CA

Marc Moskovitz

Cora Kuyvenhoven

Nat Chaitkin

Joel Becktell

principal cello, 31 years The Barbara Trueman Chair Current Residence: Durham, NC

cello, 25 years The Bob & Mary Frances Restrepo Chair Current Residence: Columbus, OH

John Pellegrino

Boris Astafiev +

principal double bass, 14 years The John F. Brownley Chair Current Residence: Columbus, OH

Donna Conaty

principal oboe, 36 years The Lee Shackelford Chair Current Residence: Santa Cruz, CA

cello, 18 years The William K. Laidlaw Trust Chair Current Residence: Cincinnati, OH

cello, 17 years The Donna K. Laidlaw Chair Current Residence: Albuquerque, NM

Nadine Hur

Anthony Trionfo

bass, 2 years Current Residence: Cincinnati, OH

principal flute, 5 years The Dana Navin Schultz Chair Current Residence: St. Louis, MO

flute, 5 years The Miriam & Bernard Yenkin Chair Current Residence: New York, NY

Jessica Smithorn

Ilya Shterenberg

Jennifer Magistrelli

oboe, 7 years principal clarinet, 8 years The Artie & Alisa Isaac Chair The Beth Grimes-Flood & Tom Flood Chair 2 5 Chattanooga, - 2 6 S E A S O NTN | promusicacolumbus.org Current Residence: Current Residence: Bangor, ME

clarinet, 14 years The Jack & Betsy Farrar Chair Current Residence: Richfield, OH

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Ellen Connors

principal bassoon, 15 years The ML Chair Current Residence: St. Louis, MO

Rachael Young

bassoon, 10 years The Carolyn Merry & Bob Redfield Chair Current Residence: Cincinnati, OH

Justin Kohan

Timothy Leasure

principal trumpet, 2 years The Susan L. Quintenz Chair Current Residence: Pittsburgh, PA

Rajesh Prasad

Stephanie Blaha

principal horn, 8 years The Todd S. Swatsler Chair Current Residence: Wadsworth, OH

trumpet, 22 years The Zunkiewicz Family Chair Current Residence: Pickerington, OH

percussion, 12 years The Bob Redfield & Mary Yerina Chair Current Residence: Raleigh, NC

Jeanne Norton

principal harp, 46 years The Sustaining Board Chair Current Residence: Columbus, OH

Renee Keller

principal timpani and percussion, 12 years The Susan C. Johnson Chair Current Residence: Gahanna, OH

Aya Hamada

principal harpsichord/keyboard, 21 years The ProMusica Board Chair in memory of Ida Copenhaver Current Residence: New York, NY

+ one-year appointment

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Matthew Oliphant +

horn, 3 years The Burkey Family Chair Current Residence: Chicago, IL

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2024-2025 Annual Fund Contributors ProMusica Chamber Orchestra is grateful to the following donors who support our efforts to deliver a world-class and unique classical music experience. We invite you to join our circle of supporters online at promusicacolumbus.org, or by calling ProMusica’s Development Office at 614.464.0066 ext. 104.

MAESTROS $10,000 AND ABOVE Gifts from Individuals Deborah Anderson Lavea Brachman and Andrew O. Smith The Michael and Paige Crane Fund of The Columbus Foundation Margaret Cunningham Nancy and Steve Falk Jim Ginter Joan Herbers Michael Jones and Jody Croley Jones Helen Liebman and Thomas Battenberg Dr. William Mitchell Kathryn Sullivan Todd Swatsler Amy Thompson and Stephen Fechtor Barbara Trueman Miriam and Bernie Yenkin Mary Yerina and Bob Redfield Anonymous Support from Corporations, Foundations & Public Agency Funds American Electric Power Bank of America Kenneth L. Coe and Jack Barrow Fund of The Columbus Foundation The Columbus Foundation The CORE Group of UBS Financial Services The Crane Family Foundation DGD Group, Inc. The Fox Foundation Greater Columbus Arts Council Ingram-White Castle Foundation Nationwide Ohio Arts Council PNC

ProMusica Chamber Orchestra Sustaining Board The Reinberger Foundation The Shackelford Family Fund of The Columbus Foundation The Siemer Family Foundation

SPECIAL GIFTS In Memory of Pamela Romeo Elliott James Elliott

ENCORE $5,000 - $9,999 Gifts from Individuals George Barrett and Deborah Neimeth Fund of The Columbus Foundation John F. Brownley Dr. Richard and Yvonne Heather Burry Keith Dufrane Betsy and Jack Farrar Beth Grimes-Flood and Tom Flood Susan C. Johnson The Kridler Family Fund of The Columbus Foundation Donna Laidlaw The Mary and Robert Lazarus Fund of The Columbus Foundation Elliott S. Luckoff The Fran Luckoff Family Fund of The Columbus Foundation Malloure Family Foundation Nancy Marzella The Quintenz Family Mary Frances and Bob Restrepo Anne Powell Riley David R. Schooler Hugh Schultz Caitlin Sherman and Vineeth Sukrithan Kara Trott and Bob Philips The Zunkiewicz Family Anonymous

In Memory of Frances N. Lazarus Peggy Lazarus

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

Support from Corporations & Foundations BakerHostetler E. Nakamichi Foundation Ice Miller LLP Jones Day The Hattie and Robert Lazarus Fund of The Columbus Foundation Porter, Wright, Morris & Arthur LLP Vorys, Sater, Seymour and Pease LLP SYMPHONY $3,000 - $4,999 Gifts from Individuals Lauren Bonfield and Stephen Keyes Mary and Steve Burkey Lynn Elliott Dr. Dara A. and Mark H. Gillis Laurie and Thomas Hill Artie and Alisa Isaac – Yellow Springs Community Foundation Marilyn and Randy Miller Deborah Raita Sallie J. Sherman Jayne Wenner and Peter Costanza Dyann and Joel Wesp Becky Wright Anonymous

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Support from Corporations & Public Agency Funds Cardinal Health City of Columbus Kegler, Brown, Hill + Ritter Ologie CONCERTO $2,000 -$2,999 Gifts from Individuals Robert Allen and Diane Weaver Catherine and John Brody Liz Bundy Trish and John Cadwallader Sylvia Fergus and Kent Rigsby Linda and Bill Habig Steven Hillyer The Josenhans Family Fund of The Columbus Foundation Suzanne Karpus George Knight and Ellen Berndt Susan and Barry Lubow Margaret A. Malone Mary Pat Martin and Rick Livingston Ann and Doug Teske Anonymous SPECIAL GIFTS In Honor of Chris Bruner Mary Rutherford RHAPSODY $1,000 - $1,999 Gifts from Individuals Julia and Milt Baughman Sally and Roger Baughman Pamela and John Beeler Evelyn Behm Katherine Borst Jones Ellen Bowden David Chan and Annjia Hsu Bob and Julie Connors Mary Jo Conte Mark and Mindy Corna Patt and Chuck DeRousie Charles and Edith Emery Ann and Jack Fowble Jack and Joan George Katie and Jake Gibson

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Barbara and Gary Giller Michael Gladman David Hedgecoth Mark and Mary Howard Benita Kahn Gerald and Ann Newsom Annegreth T. Nill and Bruce C. Posey Angela and John Petro Julie and Bob Rutter William and Patricia Sadataki Kelly and Peyman Salehi Stacie and Mark Sholl Lydia Smith-Lockwood and Tim Lockwood Ed and Nancy Strause Fund at The Columbus Foundation The Oscar L. and Rita C. Thomas Fund of The Columbus Foundation Nancy and Raymond Traub Pam Hussen and Patrick Vincent Adam Wagenbach and Kathleen Murphy Gail Walter and Allen Proctor Lillian Webb Robert F. Wing John and Sherry Young Anonymous SPECIAL GIFTS In Honor of Lavea Brachman Judith and Merom Brachman In Memory of George Corey Georgeann Corey In Honor of Katie McLin Diane McLin SONATA $500 - $999 Gifts from Individuals George and Vanessa Arnold Paul and Tere Beck Lisa Becker Ronald Bell Robert Byrd David and Susan Carr Patricia Cash Isaacson Cindy and John Deliman

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Lindsey and Kevin Dunleavy Cornelia Ferguson Bebe and John Finn Mabel Freeman Jerome Friedman Brian Fruchey Pat and Darla Garavito Patricia Hadler Joshua and Brandy Hill Rose Hume and Jim Dunn Ann and James A. Jones Debby and Ira Kane Deborah and Douglas King Syd and Debora Lifshin Warren and Dai-Wei Lo Susan C. Meiling Christine and Kirk Merritt Larry and Peg Neal Mariko Kaneda-Niwa and David A. Niwa The Noyes-Krippendorf Fund of The Columbus Foundation Mary and Charles Oellerman Sue Porter and Mike Sayre Nathan Riley Cordelia Robinson Patrick Ross Paulette Schmidt Lenore Schottenstein Carl and Connie Smallwood Kitty and Jim Soldano Judi and James Stillwell Charles and Betsy Warner Leslie Yenkin and Jonathan Petuchowski OVERTURE $250 - $499 Gifts from Individuals Jane and Stan Ackley Valerie Barth Stephen Bigley and Rebecca Roeder Connie Bodiker Jodi Bopp Greg Bryan Michael Burton Earl Busenburg Alan and Linda Carter Stephanie and Nelson Cary

Todd Clark Carol Hershey Durrel Laura and Pat Ecklar Michelle Gubola and Lee Fredette Ruth Guzner Vincent and Gayle Herried Charlie and Linda Kurtz Barbara and David Lambert Dr. and Mrs. Douglas Levin Yung-Chen & Katherine Lu Robert and Jennifer Lane Maier Mike McGovern and Susan Hart Mark L. Miller Dan and Kathy Moore Karen and Neil Moss Elizabeth and Kulu Moyo Brad Myers and Steve Rowlands Jane Mykrantz Robert Palmer and Susan Simms Cynthia Pfening Joe and Cortney Pickens Harry and Sue Pukay-Martin Subha Raman and Kumar Patel Maureen and Bill Severns Marcia Katz Slotnick Ronald L. Smith and Family Tom and Susan Szykowny Hamilton and Margaret Teaford Ronald and Ramona Whisler Ruth Whitehouse Kim and Matt Young Anonymous PRELUDE $100 - $249 Gifts from Individuals Mary Ann and Michael Abrams Dr. Miebi and Mrs. Jacqueline Akah Susan Altan Matthew Ando Randy Applegate Diane and Ted Armbruster Tim and Julia Armstrong Peter Auzers Michael Benedict Frank and Maureen Bittel Will and Elizabeth Blind Ann Brace Susan Brown

Donna Cavell Carol Chaitkin Peter Coccia Karen and David Cohn Robert Colby Dan and Christie Crane Joanne and Russell Crouse Mike and Susan Davala Karen Davis Betsy and Nick DeFusco Cindy and John Deliman Patrick Doss Erik Edwards Toba Feldman Judy and Ted Fisher Gary Flach Benjamin J. and Emily M. Fuller Carole and Nelson Genshaft David and Patricia Gold Mike and Harriet Hadra Anne and Wesley Harnish Brian Houts David Humeston and Amy Popp David Jeggle Ann Joyce Lawrence and Jane Keller Joel and Gerry Kent Gale and Steve Klayman Eric Kline Arnold and Carol Klukas Sharon Kokot Katie Kuvin Anne LaPidus Michael La Roe Jill Levy Barry Liss Timothy and Barbara Lloyd Philip Lortz Michael Loukas Angus McKay Judy Michaelson John and Sandra Moore Thomas and Suzanne Moushey

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The Nekvasil Charitable Fund David and Dorothy Pritchard Sandra and Howard Pritz Ginny and Reinhold Roedig William L. Slutz and Linda A. Roomann Sharon Sachs and Donn Vickers Jonathan Sauer Lyle Saylor Gary and Ellen Schwarzmueller Patti Shorr The Smajlovic Family Marilyn R. Smith Molly and Brian Snell Deb Tongren Barbara and James Tudas Robin Vachon-Kraut Adrianne Vickers Sharon Walton James and Rosanne Weidaw Chuck White Margie and Thomas Williams Michael Young and Sandra Wolf Barb Wooldridge Sarah Ziegler This list includes contributions made to ProMusica for the period of July 1, 2024 to June 30, 2025. Every effort has been made to ensure accuracy.

However, in listings of this length, errors and omissions may occur. If your name has been omitted, or listed incorrectly, we sincerely apologize.

Please let us know so that we may correct our records and this listing.

Thank you.

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Gifts to the Endowment Fund Gifts contributed to the ProMusica Endowment Fund provide a lasting financial foundation for the future of our orchestra. ProMusica Chamber Orchestra deeply appreciates the following gifts received during the 2024-2025 giving year (July 1, 2024 – June 30, 2025).

In Honor of John Behal DeeDee Glimcher In Honor of Isidore Burry Deborah Stype In Honor of Richard W. Burry Yvonne Burry and Family In Honor of Janet Chen Laurie and Thomas Hill Susan and Ken Quintenz In Memory of Ms. Hortie Cummings Alyssa Cummings In Honor of Ellen Kay Douglas Lee Paragas In Honor of Barbara K. Fergus Marilyn Harris In Honor of Joan Herbers Parkview Partners Capital Management In Memory of Susanne Jaffe Victoria Jaffe Susan and Ken Quintenz

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In Memory of Jody Croley Jones Tom Battenberg and Helen Liebman Lin Bensen Yvonne and Richard W. Burry Elizabeth Kellogg Konecny Family Fund Emily and Francisco Martinez Roca Bill and Marybeth McDonald Lee Shackelford Mary Yerina and Bob Redfield

In Honor of Bob Redfield Yvonne and Richard W. Burry John Yerina

In Memory of Dr. Wayne Lawson Julia and Milt Baughman Sharon Cameron Peggy Lazarus

In Honor of Chuck White Tom Battenberg and Helen Liebman

In Honor of Jill Levy Ann Joyce In Memory of Elaine Lewin Carrie and Andy Madison In Honor of Ekaterina Malkin Clara Kliman-Silver In Memory of Lucy and Sam Porter Samuel H. Porter, III

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In Memory of Joseph Rodriguez Bruce A. Jensen In Honor of Caitlin Sherman Elaine Luttrull In Memory of Gary Shildt Christopher Lohr

In Honor of Mary Yerina Lindsey and Kevin Dunleavy For more information on making a perpetual gift to the ProMusica Endowment Fund, please contact the ProMusica Development Office at 614.464.0066 ext. 104.

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

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

Contributions listed were received for the 2024-2025 school year.

INDIVIDUALS Sabrina Bobrow Robert Byrd Georgeann Corey Ellen George Steven Hillyer Deborah Raita Nathan Riley Mary Beth Shirk

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

In Honor of Barbara K. Fergus Susan and Ken Quintenz

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2025 Soirée Sponsors and Patrons We thank the following corporations and individuals for their generous support of our 2025 Soirée Benefit and Concert.

PRESENTING SPONOR The CORE Group of UBS Financial Services GOLD SPONSORS BakerHostetler Lavea Brachman and Andrew O. Smith Mimi Dane Jim Ginter Joan Herbers Ice Miller LLP Jones Day Ologie Porter, Wright, Morris & Arthur LLP Lee Shackelford Vorys, Sater, Seymour and Pease LLP The Westin Great Southern Columbus

Mary and Tom Katzenmeyer Steve Keyes and Lauren Bonfield Nancy Marzella, Amy Spiess, Brooke Stein, and Lily Stein The Roe Family Wells CPA

PLATINUM PATRONS Barbara Brandt John Brownley and Lynn Elliott Michael Burton Trish and John Cadwallader Marilyn and Marty Campbell Donna Cavell Katie and Geoff Chatas Mark and Mindy Corna Patricia Cunningham Dr. Ellen and Dr. Stephen Douglas Jim Elliott and John Behal Stephen Fechtor and Amy Thompson Kelly Fuller and Bob Thomas Kenneth Fultz SILVER SPONSORS Courtney Gerlach and Stan Ferger Janet Chen and Rick Buchanan Barbara Goettler Crane Group Babette Gorman Kegler, Brown, Hill & Ritter The Grimm Family Christine and Meri Kullberg Steven Hillyer PNC Bank Michael E. Jones and Jody Caitlin Sherman and Vineeth Croley Jones Sukrithan Keely Kurtas-Chapman Mary Lazarus BRONZE SPONSORS Peggy Lazarus Doug and Monica Kridler Barry Liss George Barrett Jerry Maloney and Julia Backoff and Chip Burke Brenda Petruzzella Bank of America Susan and Bill McDonough Darci Congrove, Chris Hune, Patti Orzano, and Sally McDonald Amy Milbourne Thom O’Reilly Tom and Ann DiMarco Gina Olsen Bill and Wendy Faust Joe and Cortney Pickens Ann and Tom Hoaglin Susan and Ken Quintenz Irvin Public Relations Sue and Mark Real Suzanne Karpus

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Peyman and Kelly Salehi Laurie Schmidt-Moats and Tim Moats David Schooler Lenore Schottenstein Alex and Katelyn Stapleton Todd Swatsler Arlene and Michael Weiss Linda Wilson and Family Vivian Witkind Davis Miriam and Bernie Yenkin Mary Yerina and Bob Redfield Sarah Ziegler PATRONS Susan Altan Tom Battenberg and Helen Liebman Milt and Julia Baughman Sally and Roger Baughman Lynda Berge Disser Rikki Burleson Yvonne and Dick Burry Christopher and Anne Cole Jayne Wenner and Peter Costanza Kim and Joe Dascenzo Lindsey and Kevin Dunleavy Laura and Pat Ecklar Marilu and Tim Faber Nancy and Steve Falk Paul George Chris and Victoria Giller Marilyn Harris Jason and Jennifer Hurley Brad Myers and Steve Rowlands Mary and Charlie Oellermann Deborah Raita The Romig Family Rosanne and Mark Rosen Chris and Kristen Rusen Julie and Bob Rutter Mark and Stacie Sholl

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Angie Lloyd and Ric Simmons Lydia Smith-Lockwood and Tim Lockwood Beth and Tom Stafa Sarah Townes Cynthia M. Whitacre Katelyn Wright Jarrod Wurm, Benjamin Buettner, and James Watson Greg Zunkiewicz Anonymous DONATIONS Julia Backoff and Christopher Burke John Brownley and Lynn Elliott Babette Gorman IN-KIND DONATIONS Rose Bredl Flowers & Gifts RAFFLE PRIZE DONATIONS American Electric Power Chouette Columbus Fury Donatos Betsy and Jack Farrar Jake Gibson Grant Park Music Festival Hank’s Low Country Seafood & Raw Bar PNC Bank Porter, Wright, Morris and Arthur LLP ProMusica Chamber Orchestra Board of Trustees Bob Redfield and Mary Yerina Lee Shackelford Tiffany & Co., NYC Together & Company Vorys, Sater, Seymour and Pease LLP Rachael Young

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