Issuu

26 27 SEASON Program Book MOZART'S GREAT MASS

BACH, PÄRT, & BEETHOVEN

October 17 & 18

November 7 & 8

PLAY! & SCHUBERT'S THIRD December 12 & 13

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

The CORE Investment Group UBS Financial Services Inc. 5007 Horizons Drive Upper Arlington, OH 43220 614-460-6551

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Contents 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 Mozart's Great Mass

Biographies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 1 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Mass Text & Translation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Bach, Pärt, & Beethoven

Biographies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 1 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

PLAY! & Schubert's Third

Composer/Performer Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Biographies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 1 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 PLAY! Text & Translation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Meet the Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 2025-26 Financial Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

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 2026-27 season!

There is something special about experiencing music together. A familiar piece can sound completely new, an unexpected pairing can open our ears to something different, and a great performance can stay with us long after the final note. That spirit of discovery—and the joy of sharing it with our community—is at the heart of ProMusica’s 48th season. This year, we invite you to listen with us across centuries, cultures, and musical traditions. From Beethoven, Schubert, and Schumann to contemporary voices including Clarice Assad, Arvo Pärt, and Viet Cuong, our season brings together beloved masterworks and music that challenges and surprises us. Under the artistic leadership of Music Director David Danzmayr, we are thrilled to welcome an extraordinary roster of artists, including pianist Claire Huangci, Vienna Philharmonic principal harpist Anneleen Lenaerts, GRAMMY Award-winning Third Coast Percussion, and our Creative Partner, renowned violinist Vadim Gluzman. We’ll also reunite with the Capital University Chapel Choir and Columbus Choral Artists, joined by four acclaimed vocal soloists, for Mozart’s monumental Mass in C Minor. And in true ProMusica fashion, innovation is woven throughout the season, including the return of our popular NAKED CLASSICS series, where host Paul Rissmann invites us to look—and listen—more deeply into the music we love. Through the artistry of our musicians and soloists, we continue to explore what a chamber orchestra can be—and what it can mean to our community. Just as importantly, ProMusica’s music reaches far beyond the concert hall. Throughout the year, our education and community engagement programs bring musicians and audiences together in schools, libraries, neighborhood venues, and other community spaces. We believe everyone deserves the opportunity to experience the connection, inspiration, and joy that music can create—and we are proud to make those experiences part of the fabric of Columbus. For nearly five decades, ProMusica has been creating musical experiences that invite us to listen differently, think differently, and come together. Thank you for being part of that journey and for helping us imagine what comes next. We are so glad you’re here, and we look forward to sharing this season with you.

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 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 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 honored to support the music that brings our community together. keglerbrown.com

Photo: Rick Buchanan Photography

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

David Danzmayr “An emotionally rewarding experience… Led by Danzmayr, the orchestra created the sensation of timelessness, … taking concertgoers to a heavenly dimension.” Oregon ArtsWatch David Danzmayr has earned a reputation for the intensity and deep musicality of his music-making. Now in his sixth season as Music Director of the Oregon Symphony, he continues to champion the work of living composers, a theme that runs throughout the 2026/27 season, with highlights including premieres of new works by Jessie Montgomery with cellist Abel Selacoe and the world premiere of a new song cycle by Gabriel Kahane. Other highlights in Oregon include performances of Mahler’s Symphony No. 6, Bruckner’s Symphony No. 9, Mozart’s Mass in C minor, Scriabin’s Symphony No. 4, Elgar’s Enigma Variations and Schubert’s Symphony No. 10. Last season, Danzmayr and the orchestra released Andy Akiho’s Beneath Lighted Coffers: Concerto for Steel Pans & Orchestra (Reference Recordings). In high demand as a guest conductor internationally, Danzmayr returns in the 2026/27 season to US orchestras including the Atlanta Symphony Orchestra and St Louis Symphony Orchestra, and makes his debut with the Dallas Symphony Orchestra. In Europe, he returns to the City of Birmingham Symphony Orchestra and performs with Orquesta Filarmónica de Gran Canaria. He works regularly with the Zagreb Philharmonic Orchestra, of which he previously served as Chief Conductor. Highlights of his tenure included several European tours, with concerts at Vienna’s Musikverein and Salzburg’s Großes Festspielhaus, where the 6

orchestra performed the prestigious New Year’s Concert. In March 2026, he conducted Taiwan’s National Symphony Orchestra in its mid-season opening concert, featuring music by Brahms and Sibelius with pianist Kyohei Sorita. Alongside his position in Oregon, Danzmayr also serves as Music Director of the innovative ProMusica Chamber Orchestra. Comprised of musicians from across the United States, the orchestra is developing a range of projects in anticipation of its forthcoming 50th-anniversary season, including recording the complete Schubert symphonies. Danzmayr has collaborated with many of today’s leading soloists, including Yefim Bronfman, Sir Stephen Hough, Renée Fleming, Yo-Yo Ma, Joshua Bell, Joyce Yang, Colin Currie and Gil Shaham. Recent highlights include performances with Christine Goerke and Storm Large, while the 2026/27 season brings collaborations with, among others, Stella Chen, Pavel Kolesnikov, Ava Bahari and Emanuel Ax. Danzmayr received his musical training at the Mozarteum University Salzburg where, after initially studying piano, he went on to study conducting with Dennis Russell Davies. His first professional appointment was in Scotland as Assistant Conductor of the Royal Scottish National Orchestra. Early in his career, he received prizes at some of the world’s most prestigious conducting competitions, including the International Gustav Mahler Conducting Competition and the International Malko Conducting Competition. In recognition of his achievements, he was awarded the Bernhard Paumgartner Medal by the Internationale Stiftung Mozarteum.

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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, ONYX, 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, which he founded in 2011. In the 2026/27 season Vadim Gluzman makes his highly anticipated debut with the New York Philharmonic conducted by Santtu-Matias Rouvali, returns to Chicago Symphony for concerts with Jaap van Zweden, performs with Orchestre Philharmonique de Radio France, Dresden Philharmonic,

Baltimore, Indianapolis, Colorado and Quebec Symphony Orchestras. He appears in recital at Leipzig’s Gewandhaus and continues to lead performances with the ProMusica Chamber Orchestra in Columbus, Ohio, where he serves as a Creative Partner and Principal Guest Artist. Mr. Gluzman has premiered works by Sofia Gubaidulina, Erkki-Sven Tüür, Sally Beamish, Moritz Eggert, Giya Kancheli, Elena Firsova, Pēteris Vasks, Michael Daugherty and Lera Auerbach. In 2025 he commenced his role as Artistic Director of the Music in the Mountains Festival in Durango, Colorado. Accolades for Gluzman'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 ‘ex-Leopold 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 “Composer/Performer Project,” “Naked Classics,” and 8

“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 Samara Joy, 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 two-day 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 thousands of guests to Franklin Park Conservatory & Botanical Gardens—free and open to the public,

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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 was 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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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.

Orchestra photos: Rick Buchanan Photography

Important Information 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 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.

Exceptional Musicians. Elevated Performances.

Board of Trustees and Administration OFFICERS

President Lavea Brachman, Lincoln Institute of Land Policy Vice-President Nancy Falk, Heart of Ohio Family Health Center Vice-President Joan Herbers, The Ohio State University Vice-President Christine Kullberg, Cardinal Health Vice-President Susan Lubow, BakerHostetler Treasurer Elizabeth Turrell Farrar, Civic Leader Secretary Elizabeth Moyo, Porter, Wright, Morris & Arthur LLP

TRUSTEES

Nelson D. Cary, Vorys, Sater, Seymour and Pease LLP Lynn Elliott, Columbus Window Cleaning Kristy Etling, Bank of America Michael R. Gladman, Jones Day Kelsey Gregory, PNC Bank David Hedgecoth, The Ohio State University Dennis Hirsch, The Ohio State University Laurie Hill, Civic Leader + Stephen Keyes, Abercrombie & Fitch Eric Kline, ProMusica Musician Representative Adam Miller, Kegler Brown Hill + Ritter Marc Moskovitz, ProMusica Musician Representative 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 Mark Sholl, Hilliard City Schools Lydia Smith-Lockwood, Upper Arlington City Schools + Todd Swatsler, Partner (retired), Jones Day Rebecca Willie, ProMusica Musician Representative

EX-OFFICIO

Janet Chen, Chief Executive Officer David Danzmayr, Music Director Marianne Mottley, ProMusica Sustaining Board President

ADMINISTRATION Janet Chen

David Danzmayr Vadim Gluzman Yvette Boyer Carolyn Caldwell Carlie Geyer Tyler Green Daniel Jacobs Suzanne Jennison Kira Kadar Brittany Lockman Hannah Puckett 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 Coordinator Play Us Forward Teaching Artist Orchestra & Operations Manager Marketing Coordinator Director of Marketing Development Coordinator Music Librarian T icketing & Audience Services Manager Operations Coordinator Administrative Coordinator

TRUSTEES CIRCLE

Artie Isaac, Chair Deborah Anderson Tom Battenberg Milt Baughman Mark Corna Peter Costanza Jim Elliott Beverley Ervine Jim Ginter Melissa Ingwersen Katherine Borst Jones Suzanne Karpus Donna Laidlaw Boyce Lancaster Mary Lazarus Peggy Lazarus Nancy Marzella Dr. William Mitchell Kathryn Sullivan Bernie Yenkin

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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

Gwen Burt Secretary

Sally Baughman Beverley Ervine Paul George Barbara Goettler Steven Hillyer Boyce Lancaster Thom O’Reilly Marquell Segelken Dyann Wesp

Michael Maggard Treasurer

CONCERTMASTER MEMBERS

Marianne Mottley President Elizabeth Turrell Farrar Vice President

PAST PRESIDENT ADVISORS

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

APPOINTMENTS

Lee Shackelford and Patti Shorr Culinary Capers 2026 Mark Butler Electronic Services Jordan Andrews Historian Donna Cavell and Jennifer Markovich Membership Jennifer Markovich Newsletter Mary Oellermann Nominating Marianne Mottley Special Events Betty Giammar Sunshine

Jordan Andrews Anonymous Peg Bainbridge Sally Baughman Meredith Bonham Gwen Burt Richard Burry Yvonne Burry Mark Butler Donna Cavell Marilee Chinnici-Zuercher Georgeann Corey Harriet Donaldson Ellen Kay Douglas Keith Dufrane Barbara Elliott Beverley Ervine Christine Farquhar* Ellen George Paul George Betty Giammar Barbara Goettler Beth Grimes-Flood Elayne Gunder Laurie Hill Steven Hillyer Michael Jones Janet Kerekes Sharon Kokot Donna Laidlaw Angela LaMonte Boyce Lancaster Mary Lazarus Barry Liss Kathy Ludlam Andrew Maggard Lisa Maggard

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

PRINCIPAL MEMBERS Claudia Abrams Kim Bingle Nancy Brownell Connie Cahill Janet Chen Elizabeth Rossetti Ellis Marion Fisher Ben Fuller Rose Hume Deborah King Adele Lipari Marybeth McDonald Susan McDonough Jan Quatman Clare Reter Jude Reter Hugh Schultz Marquell Segelken Pamela Turrell Gail Walter Dyann Wesp Margie Williams Becky Wright Serie Zimmerman

Contact the Sustaining Board 2 6 - 2 7atS sustainingboard@promusicacolumbus.org. E A S O N | promusicacolumbus.org promusicacolumbus.org/sustainingboard

MUSICIAN MEMBERS Susan Altan Ann Boeckman* Ellen Bowden Lindsey Dunleavy Lynn Elliott Carolyn Fannon Elizabeth Turrell Farrar Melissa Ingwersen* Brian Kemp Joan Kirschner Linda Kurtz Barbara Ludwig Rebecca McCullam Judy Michaelson Elizabeth Perry* Rita Volpe Erica Zimmerman * New member Honorary Members: Patt DeRousie, Matt Kurk, 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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October Guest Artists Photo Credit: Regina Mountjoy

Photo Credit: Angela Nunnink

Yulia Van Doren, soprano

Abigail Nims, soprano

Yulia Van Doren has thoughtfully cultivated a distinguished career as one of the foremost concert singers of her generation, appearing as a guest artist with the majority of North America’s leading orchestras and festivals, and on two GRAMMY-nominated recordings with the Boston Early Music Festival.

Mezzo-soprano Abigail Nims is regarded as a musician of integrity and versatility for her performances of repertoire spanning from Monteverdi, Bach, and Mozart to Crumb, Ligeti and premieres of contemporary works. Particularly praised for her expressive interpretations and tonal beauty in the concert repertoire, her career as a soloist has highlights of Stravinsky’s Pulcinella, Haydn’s Harmoniemesse, and Crumb’s Night of the Four Moons with the Saint Paul Chamber Orchestra. Top highlights of Nims’ performances as an opera singer include Veruca Salt in Peter Ash’s The Golden Ticket at the Wexford Opera Festival and Atlanta Opera, Melanto in Monteverdi’s Il ritorno d’Ulisse in patria with Boston Baroque, and Lazuli in L’Étoile with New York City Opera.

She has also sung leading roles across a diverse range of operatic repertoire, including the world premiere of Shostakovich’s Orango with the Los Angeles Philharmonic, directed by Peter Sellars and released on Deutsche Grammophon; the modern revival of Monsigny’s Le roi et le fermier at Opera de Versailles, the Kennedy Center and Lincoln Center; Alessandro Scarlatti’s rarely-performed Tigrane at Opera de Nice; Monteverdi excerpts in Venice with Sir John Eliot Gardiner; Handel’s Acis and Galatea in Macau with Akademie für Alte Musik Berlin, and at the Royal Concertgebouw Amsterdam; several world premieres at Carnegie Hall; and nationally-televised performances at the Cartagena International Music Festival with soprano Dawn Upshaw, a cherished career mentor.

She has received awards from the Fritz and Lavinia Jensen Foundation Competition, Santa Fe Opera, the Carmel Bach Festival, the American Bach Society/Bach Choir of Bethlehem Competition, and Yale School of Music.

Ms. Van Doren’s graduate studies were generously supported by a PD Soros Fellowship, postgraduate study in Paris by a Beebe Fellowship, and she is an Astral Artist laureate. Beyond the concert stage, she is the founder of an innovative holistic wellness brand and the author of four award-winning international bestsellers, with over a quarter-million copies sold in eight translations. This year, she is based in Ireland for advanced postgraduate study in Ritual Chant and Song at the University of Limerick, developing a new project at the intersection of music, ritual, and holistic healing.

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Praised for his “impressive clarity and color” (The New York Times) and described as a “superb vocal soloist” (The Washington Post), tenor Steven Soph performs as a soloist with major orchestras and ensembles across the United States. He has appeared as soloist in Mozart’s Requiem with The Cleveland Orchestra and Handel’s Messiah with the Seattle Symphony, and with organizations including Philharmonia Baroque Orchestra, the Handel + Haydn Society, American Classical Orchestra, and Apollo’s Fire. His repertoire spans the Baroque and Classical canon alongside contemporary works. A frequent interpreter of Bach’s vocal works, he has developed particular distinction as an Evangelist in the Passions, a role he has made a “national specialty” (The Dallas Morning News). Critics have praised his ability to “expertly inhabit” the role (Chicago Classical Review), noting his precise diction and dramatic sensitivity. His performances include Stravinsky’s Threni with The Cleveland Orchestra under Franz Welser-Möst, as well as projects with the New World Symphony, Roomful of Teeth, and Yale Choral Artists in collaboration with Yale Philharmonia. His discography includes GRAMMY® Award–winning and nominated recordings with True Concord Voices and Orchestra and Conspirare, and a Latin GRAMMY® Award–winning album with the Mexican rock band Maná. He recently recorded the role of Job in Judith Weir’s In the Land of Uz with Yale’s Schola Cantorum under David Hill; the composer described him as a “fine successor” to Mark Padmore and Adrian Thompson, and Gramophone praised his portrayal as “very moving.” In the 2026–2027 season, he returns as Evangelist in Bach’s St. Matthew Passion with True Concord Voices and Orchestra and sings Handel’s Messiah with American Bach Soloists in San Francisco and Mozart’s Mass in C Minor with ProMusica Chamber Orchestra in Columbus, Ohio. He has performed at Carnegie Hall, Lincoln Center, Boston’s Symphony Hall, and the Kennedy Center, and holds degrees from the University of North Texas and the Yale School of Music.

Photo Credit: Zach Gross

Steven Soph, tenor

Kevin Deas, baritone Kevin Deas has gained international renown as one of America’s leading bass-baritones. He is perhaps most acclaimed for his signature portrayal of the title role in Porgy and Bess, having performed it with the New York Philharmonic, Philadelphia Orchestra, National Symphony, St. Paul Chamber Orchestra, Pacific Symphony, as well as the most illustrious orchestras on the North American continent, and at the Ravinia, Vail and Saratoga festivals. Kevin Deas’ 2025-2026 season included performances of Handel’s Messiah with the New York Philharmonic, National Cathedral and Seattle Symphony, Mozart’s Requiem with Apollo’s Fire, Haydn’s The Creation with Missoula Symphony, Bach’s Mass in B Minor with the Portland Symphony in Maine, and Bach’s Christmas Oratorio with Music Worcester. Other notable performances include an appearance as Dick Halloran in Paul Moravec’s critically acclaimed opera The Shining with Nashville Opera. Recent performances include Beethoven’s Symphony No. 9 with the Oregon Symphony, Indianapolis Symphony, Portland Symphony in Maine and Vista Philharmonic, and Handel’s Messiah with the National Cathedral, and New Jersey Symphony. Other notable performances in the season include Mark Adamo’s Lysistrata with Odyssey Opera, Mozart’s Requiem with Orchestra Iowa, and Walton Belshazzar’s Feast with Bach Festival Society of Winter Park. Other recent highlights include performances with the New York Philharmonic, Houston Symphony, Boston Baroque, Pacific Symphony, Vermont Symphony, Des Moines Symphony, Mobile Symphony, Baton Rouge Symphony and Long Beach Symphony. A proponent of contemporary music, Kevin Deas has performed Menotti's Amahl and the Night Visitors at Italy’s Spoleto Festival, Derek Bermel’s The Good Life with the Pittsburgh Symphony, and Hannibal Lokumbe’s Dear Mrs. Parks with the Detroit Symphony. He also enjoyed a twenty-year collaboration with the late jazz legend Dave Brubeck. Kevin Deas has recorded Wagner’s Die Meistersinger (Decca/London) with the Chicago Symphony under Sir Georg Solti and Varèse's Ecuatorial with the ASKO Ensemble under Riccardo Chailly. Other releases include Bach's Mass in B Minor and Handel's Acis and Galatea (Vox Classics); Dave Brubeck's To Hope! with the Cathedral Choral Society (Telarc); Haydn's Die Schöpfung with the Virginia Symphony and Boston Baroque (Linn Records); and Dvorák in America (Naxos).

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Columbus Choral Artists Columbus Choral Artists brings together established professional choral artists from throughout the region with exceptional young singers from Capital University’s nationally recognized Chapel Choir. Several of CCA’s professional singers are themselves graduates of Capital’s choral program, creating a unique continuum of artistry, mentorship, and musical tradition. Established in 2025, with their inaugural performance of Mendelssohn’s Lobgesang with Pro Musica Chamber Orchestra, CCA is built on the belief that bringing emerging and established artists together elevates the musical experience for everyone. University music majors and professional singers perform side by side, challenging, inspiring, and learning from one another in a shared commitment to choral artistry. For this special collaboration with ProMusica Chamber Orchestra, CCA draws on the rich choral tradition of Capital University’s Chapel Choir, established in 1929 and recognized nationally and internationally for its expressive sound and commitment to storytelling through song.

Lynda R. Hasseler, director Lynda R. Hasseler, D.M.A., became director of the Capital University Chapel Choir in 1990, making history as the first woman to lead a Lutheran collegiate choral program. After 35 years at Capital University, she recently retired as Professor of Music and Director of Choral Activities but continues her work in the choral arts, serving as a guest conductor, choral clinician and as Founding Artistic Director of Columbus Choral Artists. Over the course of her career, Dr. Hasseler has performed regionally, nationally, and internationally with singers of all ages, premiered works by prominent composers, and conducted on renowned stages, including Carnegie Hall. For this performance of Mozart’s Mass in C Minor, she serves as preparation conductor for the choir. This performance marks the fifth performance of the Columbus Choral Artists. Their recent work together has included Mendelssohn’s Lobgesang with ProMusica Chamber Orchestra in 2025; the 2025 premiere of Jake Runestad’s Vincent’s Sky; a February 2026 performance with Andrea Bocelli; and an April 2026 concert featuring Sacred Place by Alex Berko.

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

Learn more at: nationwide.com/corporatecitizenship

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

David Rose+, acting principal The Amy Thompson & Stephen Fechtor Chair **Mary Harris The Margaret & Jerome Cunningham Chair Vacant 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 Yvonne & Richard Burry Chair

BASSES

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

FLUTES

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

OBOES

Vacant, 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 John Uchal oboe Jay Villella trumpet John Gruber trombone Anthony Weikel trombone Sean McGhee bass trombone Collin Richardson organ Jessica Ingersoll viola Joseph Mueller cello

ORCHESTRA MANAGER Suzanne Jennison

** Begins the alphabetical listing of string players who participate in a system of rotated seating. *On leave for the 2026-27 season +One year appointment The Musicians of the ProMusica Chamber Orchestra are members of, and represented by, the Central Ohio Federation of Musicians, Local 103 of the American Federation of Musicians.

Mozart’s Great Mass Yulia Van Doren, soprano Abigail Nims, soprano Columbus Choral Artists David Danzmayr, conductor

Steven Soph, tenor Kevin Deas, baritone Lynda R. Hasseler, chorus director

Southern Theatre // Saturday, October 17 // 7:00 PM Southern Theatre // Sunday, October 18 // 7:00 PM MOZART

D ivertimento in D Major, K. 136 I. Allegro II. Andante III. Presto

RICHTER

On the Nature of Daylight

Intermission

Intermission lasts 15 minutes MOZART Mass in C Minor, K. 427 I. Kyrie (reconstructed II. Gloria and Completed I II. Credo Helmut Eder) IV. Sanctus V. Benedictus Yulia Van Doren, soprano Abigail Nims, soprano Steven Soph, tenor Kevin Deas, baritone Columbus Choral Artists The Opening Weekend Champagne Toast is generously provided by: Elizabeth Moyo Stay for Coda: Post-Concert Conversation. Meet the featured artists and learn more about tonight’s program.

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October

Max Richter (b. 1966): On the Nature of Daylight

About the Music Wolfgang Amadeus Mozart (1756-1791): Divertimento in D Major, K. 136 Instrumentation: Scored for string orchestra Composed: 1772 Duration: 15 minutes

In December 1769, a thirteen-year-old Mozart left for Italy with his father, Leopold, who hoped to showcase his son's extraordinary talent and build valuable connections for the future. Leaving Mozart's mother and sister at home, the tour stretched over nearly two years. The journey left a lasting mark: Mozart learned Italian, premiered an Italian-inspired opera at the ripe age of 14, and brought home a bright, Italianate sparkle that infused his work for years. During the winter of 1772, Mozart composed three, threemovement works in the fast-slow-fast style of the Italian sinfonia, although their exact purpose and intended ensemble size remain unknown. He may have written them as lighthearted string quartets to be played al fresco, or outdoors, or simply for whatever group of musicians he could gather at the time. Though the title "Divertimento" was added later by someone else, it perfectly captures the spirit of these entertaining, Italianate diversions. The Divertimento in D Major remains a classic among string players for its effortless grace and quintessential Mozartean brilliance. The piece leaps to life with a lively, violin-driven melody over a driving bassline. In the middle section, a shift into a darker minor key eventually gives way to a vibrant moto perpetuo figure in the second violins, anchored by delicate pizzicato accents. The elegant Andante perfectly captures the airy, Rococo charm of an outdoor serenade. Finally, the Haydn-inspired Presto opens with an amusingly simple, six-note call-and-response before launching into a flurry of spirited melodies. The sparkle of Mozart’s firstviolin writing will steal your attention, but don’t lose sight—or sound—of the virtuosic second violins! A brief contrapuntal development adds a bit of tongue-in-cheek seriousness to this otherwise captivating and charming youthful work.

Instrumentation: Scored for string orchestra Composed: 2003 Duration: 6 minutes

Born in Lower-Saxony, composer Max Richter came of age and was educated in England. His approachable yet individual musical voice has earned him a place among the most frequently performed of modern composers. As a performer, Richter has embraced the music of minimalists Arvo Pärt, Steve Reich, and Phillip Glass, among others, and the music heard tonight, his six-minute On the Nature of Daylight, mirrors that tradition. The work begins with a ground bass (think Pachelbel’s Canon), a repeating pattern given over to the violas and cellos. Over this pattern, Richter layers the upper strings in simple yet poignant lines that amplify the stoic, melancholy atmosphere of this profoundly moving work. Originally scored for string quintet and subsequently adapted for string orchestra, Richter’s score expresses the fragility of beauty in a violent world. It was composed in protest of the 2003 invasion of Iraq and originally released on the composer’s The Blue Notebooks, an album Richter described as “a quiet protest against the loud rhetoric of war.”

W.A. Mozart: Mass in C Minor, K. 427

Instrumentation: Scored for two sopranos, tenor, and bass; double choir; flute (used only in the Et incarnatus est); pairs of oboes, bassoons, horns, and trumpets; three trombones; timpani; organ; and strings Composed: 1783 Duration: Approximately 60 minutes

Background & Context

In 1781, a 26-year-old Wolfgang Amadeus Mozart embarked on what would become his celebrated C minor Mass. Having recently relocated from Salzburg to Vienna, he was establishing himself as a premier pianist and composer in Austria’s musical capital. Moving to Vienna also granted Mozart freedom from the Archbishop of Salzburg, under whose employ Mozart had long struggled, and his domineering father, Leopold. Adding to an already fraught relationship with his father, Mozart had also recently decided to marry the singer Constanze Weber without Leopold's explicit blessing. In late July 1782, Mozart wrote to his father: "All the good and well-intentioned advice you have sent fails to address the case of a man who has already gone so far with a maiden. Further postponement is out of the question." Mozart and Constanze had already moved in together—

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a bold breach of contemporary social norms. They were married shortly thereafter. The Mass in C minor was composed against this personal backdrop, but why Mozart turned to such a religious work, at a time when he was primarily focused on composing secular music in Vienna, remains unclear. One reason may have been his recent introduction to the music of Johann Sebastian Bach and George Frideric Handel. The Mass, then, provided the perfect vehicle to experiment with established Baroque choral and contrapuntal techniques. Additionally, it likely served as a reconciliation gesture to his father and native Salzburg. In another letter to Leopold, Mozart cryptically noted: "I have truly promised this in my heart and hope to fulfill it… a proof of the reality of my promise, however, is the score of half a Mass, of which I have high hopes." Mozart fulfilled that promise in October 1783 when the work

premiered at St. Peter’s Church in Salzburg, performed by his former court colleagues. Constanze herself sang the virtuosic soprano solos, tailored specifically to her voice. Coming just months after the tragic loss of their first child, her performance likely went a long way toward easing Leopold’s reservations about his new daughter-in-law. The C minor Mass remains famously incomplete. Only the Kyrie, Gloria, and Benedictus survive in fully realized forms. The Credo breaks off after the Et incarnatus est, and the Agnus Dei is missing entirely. Whether Mozart drew from earlier works for the premiere, left movements unfinished, or had pages lost over time remains a point of debate among musicologists. To present the work in performance, various editors have completed the missing sections. Tonight’s performance features the 1985 edition by Helmut Eder, which completes the orchestration and choral parts for the Credo and Sanctus using Mozart's extant sketches, deliberately avoiding the addition of a newly composed or adapted Agnus Dei.

Structure of the C minor Mass Movement

Section & Tempo Indication

Forces

I. Kyrie

Andante moderato

Chorus and Soprano

II. Gloria

Gloria in excelsis Deo (Allegro vivace)

Chorus

Laudamus te (Allegro aperto)

Soprano II

Gratias agimus tibi (Adagio)

Chorus

Domine Deus (Allegro moderato)

Sopranos I and II

Qui tollis (Largo)

Double Choir

Quoniam tu solus (Allegro)

Sopranos I and II, Tenor

Jesu Christe (Adagio)

Chorus

Cum Sancto Spiritu

Chorus

Credo in unum Deum (Allegro maestoso)

Chorus

Et incarnatus est (Andante)

Soprano I

IV. Sanctus

Sanctus Dominus / Hosanna in excelsis (Largo)

Double Choir

V. Benedictus

Benedictus qui venit (Allegro comodo)

Vocal Quartet and Double Chorus

III. Credo

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Here are a few thoughts to keep in mind during tonight’s performance: • Kyrie: Notice how the low brass and choir establish a dark, solemn atmosphere in the opening bars. When the solo soprano enters, the mood shifts dramatically toward an operatic brightness, showcasing the vocal agility Mozart wrote specifically for Constanze. • Gloria: This movement features intricate, cascading counterpoint (voice against voice). Mozart seamlessly weaves independent lines together—a testament to his mastery of the Baroque fugal style championed by Bach. • Et incarnatus est (Credo): Listen for the soaring, virtuosic lines in the soprano soloist's part. One can only imagine Leopold’s reaction to sublime writing for such a gifted singer. Yet, beyond her vocal talent, Constanze proved exceptionally capable in practical matters: after Mozart’s untimely death, she shrewdly managed his catalog and performances of his music, clearing his debts, securing financial independence for her family, and eventually accruing significant personal wealth. © Marc Moskovitz marcmoskovitz.org

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. 24

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Mozart Mass in C Minor Original Text

English Translation

Kyrie Kyrie eleison, Christe eleison, Kyrie eleison.

Lord, have mercy.  Christ, have mercy.  Lord, have mercy.

Gloria Gloria in excelsis Deo.  Et in terra pax hominibus bonae voluntatis.  Laudamus te. Benedicimus te.  Adoramus te. Glorificamus te.  Gratias agimus tibi propter magnam gloriam tuam.  Domine Deus, Rex coelestis, Deus Pater omnipotens.  Domine Fili unigenite, Jesu Christe.  Domine Deus, Agnus Dei, Filius Patris.  Qui tollis peccata mundi, miserere nobis.  Qui tollis peccata mundi, suscipe deprecationem nostram.  Qui sedes ad dexteram Patris, miserere nobis.  Quoniam tu solus sanctus. Tu solus Dominus.  Tu solus Altissimus, Jesu Christe.  Cum Sancto Spiritu in gloria Dei Patris. Amen.

Glory to God in the highest.  And on Earth peace to peoplef good will.  We praise You. We bless You.  We worship You. We glorify You.  We give You thanks for Your great glory.  Lord God, heavenly king, God the Father almighty, Lord Jesus Christ, the only begotten Son.  Lord God, Lamb of God, Son of the Father.  You, Who take away the sins of the world, have mercy on us.  You, Who take away the sins of the world, receive our prayer.  You, Who sit at the right hand of the Father, have mercy upon us.  For You alone are holy. You alone are the Lord.  You alone, O Jesus Christ, are most high.  With the Holy Spirit, in the glory of God the Father. Amen.

Credo Credo in unum Deum, Patrem omnipotentem, factorem coeli et terrae, visibilium omnium, et invisibilium.  Et in unum Dominum Jesum Christum, Filium Dei unigenitum.  Et ex Patre natum ante omni saecula.  Deum de Deo, lumen de lumine, Deum verum de Deo vero.  Genitum, non factum, consubstantialem patri: per quem omnia facta sunt.  Qui propter nos homines, et propter nostram salutem descendit de caelis.  Et incarnatus est de Spiritu Sancto ex Maria Virgine: Et homo factus est.

I believe in one God, The Father almighty, maker of heaven and earth, and of all things visible and invisible.  And I believe in one Lord, Jesus Christ.  the only begotten Son of God.  Born of the Father before all ages.  God of God, Light of Light, true God of true God.  Begotten, not made, of one being with the Father: By whom all things were made.  Who for us and for our salvation came down from heaven.  And He became flesh by the Holy Spirit of the Virgin Mary: And was made man.

Sanctus Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth.  Pleni sunt coeli et terra gloria tua.  Hosanna in excelsis.

Holy, Holy, Holy Lord God of hosts.  Heaven and earth are filled with Your glory.  Hosanna in the highest.

Benedictus Benedictus qui venit in nomine Domini.  Hosanna in excelsis.

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Stories above all... in the heart of the Short North Arts District

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

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

Ken-David Masur, conductor Hailed as “fearless, bold, and a life-force” (San Diego UnionTribune) and “a brilliant and commanding conductor with unmistakable charisma” (Leipzig Volkszeitung), Ken-David Masur is celebrating his eighth season as Principal Conductor of the Chicago Symphony’s Civic Orchestra, his first summer as Artistic Partner with the Oregon Bach Festival, and recently concluded his tenure as Music Director of the Milwaukee Symphony. Season highlights of Masur’s 2026/27 season include a return engagement with the Nashville Symphony as well as debuts with the Houston Symphony, Alabama Symphony, Charleston Symphony, Charlottesville Symphony, ProMusica Chamber Orchestra of Columbus, and Symphony San Jose, in addition to his weeks with the Chicago Symphony Civic Orchestra. In January 2027, Masur embarks on a tour with renowned violinist Anne-Sophie Mutter leading the Tokyo Philharmonic and the China National Center for the Performing Arts Orchestra in Beijing, and later in the season leads the Dresden Philharmonic with baritone Thomas Hampson. Masur’s tenure in Milwaukee was notable for innovative thematic programming and bridge-building, including a festival celebrating the music of the 1930s, when the Bradley Symphony Center was built; the Water Festival, which highlighted local community partners whose work centers on water conservation and education; a new annual city-wide Bach Festival, celebrating the abiding appeal of J.S. Bach’s music in an ever-changing world. He has also instituted a multi-season artist-in-residence program, and has led highly-acclaimed performances of major choral works, including a glorious staging of the St. Matthew Passion which was summed up by the Shepherd Express as “WOW. Passion, indeed.” Masur has conducted orchestras around the world including Boston, Chicago, New York, San Francisco, l’Orchestre National de France, Kristiansand Symphony, NFM Wrocław Philharmonic in Poland, and Tokyo’s Yomiuri Nippon Symphony. He makes regular festival appearances at Ravinia, Tanglewood, the Hollywood Bowl, Verbier, the Pacific Music Festival and the Oregon Bach Festival. 28

Masur is passionate about contemporary music and has conducted and commissioned numerous new works including Wynton Marsalis, Augusta Read Thomas, Unsuk Chin among others. He has recorded with the English Chamber Orchestra and the Stavanger Symphony and received a Grammy nomination from the Latin Recording Academy for the album Salon Buenos Aires. Masur and his wife, pianist Melinda Lee Masur are founders and Artistic Directors of the Chelsea Music Festival, an annual summer festival in New York City, with programs ranging from baroque and classical to contemporary and jazz, with a special emphasis of intersecting with the culinary and visual arts. Founded in 2010, The Festival has been praised by The New York Times as a “gem of a series” and by TimeOutNY as an “impressive addition to New York’s cultural ecosystem.” Born and raised in Leipzig, Germany, Masur was trained at the Mendelssohn Academy in Leipzig, the Gewandhaus Children‘s Choir, the Detmold Academy and the “Hanns Eisler” Conservatory in Berlin. While an undergraduate at Columbia University in New York, Masur became the first music director of the Bach Society Orchestra & Chorus with which he toured to Germany and recorded the music of J.S. Bach and his sons. Music education and working with the next generation of young artists are of major importance to Masur. In addition to his work with Civic Orchestra of Chicago, he has conducted orchestras and led masterclasses at many international conservatories and festivals.

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Photo Credit: Beth Ross Buckley

November Guest Conductor

Katherine McLin The Michael Jones & Jody Croley Jones Chair

Violinist Katherine McLin enjoys a diverse and prolific career as a concerto soloist, recitalist, chamber musician, and orchestral performer.

Photo Credit: Tony Taafe

November Featured Soloist

Since making her debut with the Oregon Symphony at age 15, she has performed in 43 states as well as throughout Europe. Her performances have been broadcast on NPR’s Performance Today, NYC’s WQXR, and various national and local stations and she appears on 21 recordings. In addition to serving as Concertmaster of ProMusica Chamber Orchestra, McLin is also Concertmaster of the Arizona Philharmonic (Music Director Peter Bay) and has held titled positions in the Oregon Bach Festival Modern Orchestra, Arizona MusicFest Orchestra, Michigan Opera Theater Orchestra, and the Aspen Chamber Orchestra. She is a regular guest artist at summer festivals including the Rocky Ridge Festival (CO), Saarburg Chamber Music Festival (Germany), Interharmony International Festival (Italy), Chintimini Chamber Music Festival (OR), Festival of the Black Hills (SD), and Fresno Summer Orchestra Academy (CA). Featured conference performances include the American String Teachers Association in a triple concerto with jazz great Regina Carter, as well as the International Double Reed Society, International Clarinet Association, International Schoenberg Conference, and others. A dedicated educator, McLin has been twice honored by the American String Teachers Association to present violin master classes at their national conference—most recently as the featured artist

for the Collegiate Violin Master Class in 2024 in Kentucky. She has given master classes at over 50 institutions worldwide, including the University of Michigan, Trinity College London, Boston University, Carnegie Mellon, and Vanderbilt’s Blair School of Music. Recognized for her leadership and teaching excellence, McLin was awarded the Evelyn Smith Professorship in Music at Arizona State University in 2016 for her contributions to the profession. Additionally, she was selected as a finalist for ASU’s university-wide Professor of the Year from over 1900 faculty, in 2007. Professor McLin earned her doctorate in violin performance from the University of Michigan, holds additional degrees from Indiana University and the Oberlin Conservatory and was an orchestral fellow for three years at the Aspen Music Festival.

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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

VIOLAS

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 Yvonne & Richard Burry Chair

BASSES

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

FLUTES

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

OBOES

Vacant, 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

Amy Guitry piccolo Hugo Souza oboe Jake Thonis bassoon John Gruber trombone Tom Pylinski trombone Scott Cuellar piano Jessica Ingersoll viola Joseph Mueller cello

ORCHESTRA MANAGER Suzanne Jennison

Bach, Pärt, & Beethoven Vadim Gluzman, violin Katherine McLin, violin Ken-David Masur, guest conductor Southern Theatre // Saturday, November 7 // 7:00 PM Southern Theatre // Sunday, November 8 // 7:00 PM BACH

Orchestral Suite in D Major, BWV 1068 I. Ouverture II. Air III. Gavotte I/II IV. Bourrée V. Gigue

PÄRT Tabula Rasa Vadim Gluzman, violin Katherine McLin, violin

Intermission

Intermission lasts 15 minutes

BEETHOVEN

Symphony No. 6 in F Major, “Pastoral”

I. Awakening of cheerful feelings on arrival in the countryside. II. Scene by the brook. III. Merry gathering of country folk. IV. Thunder, storm. V. S hepherd's song. Cheerful and thankful feelings after the storm.

Tonight's concert is sponsored by The Wayne P. Lawson Fund for Creativity, established at The Columbus Foundation by Wayne’s friends and colleagues in recognition of his lifetime dedication to Ohio’s artists and creators. Stay for Coda: Post-Concert Conversation. Meet the featured artists and learn more about tonight’s program. 2 6 - 2 7 S E A S O N | promusicacolumbus.org

November

About the Music Johann Sebastian Bach (1685-1750): Orchestral Suite No. 3 in D Major, BWV 1068 Instrumentation: Scored for strings and harpsicord Composed: around 1730 Duration: 18 minutes Bach’s Orchestral Suites are frequently titled Overtures because each opens with a grand movement in the French style. Bach modeled these openings after those of JeanBaptiste Lully, whose stately, double-dotted rhythms—shortlong, short-long—were composed for Versailles to mirror the regal swagger of Louis XIV. Although the four suites feature varying instrumentations, they share a unified framework: a majestic overture followed by a collection of stylized court dances. Bach likely composed this music around 1730 for Leipzig’s Collegium Musicum, an ensemble he directed during weekly Friday evening concerts at Zimmermann’s Coffee House. Because Bach’s original manuscript is lost, the suite’s intended scoring remains open to interpretation. Surviving parts for trumpet, oboe, and timpani in the hand of his son Carl Philipp Emanuel—along with string parts copied by a student— suggest Bach either enlisted help copying scores or added larger instrumentation for a later performance. Tonight’s performance features an intimate scoring for strings and harpsichord. The Overture opens with regal grandeur before launching into a lively, fugal middle section, finally returning to a brief reprise of the initial stately tempo. Next is the iconic Air— popularly known as the "Air on the G String" after violinist August Wilhelmj’s 19th-century arrangement. Here, Bach pairs a floating melody with a steady walking bass line to create music of extraordinary, simple beauty. Two lively, French-inspired dances follow: a folk-derived Gavotte and a swift Bourrée featuring a characteristic upbeat entry. The suite closes with a joyful Gigue, a spirited English-style jig in compound meter.

Arvo Pärt (b. 1935): Tabula Rasa Instrumentation: Scored for two solo violins, string orchestra, and prepared piano Composed: 1977 Duration: 27 minutes In the mid-1960s, a group of composers relocated from the West Coast to New York, eager to step away from the post-WWII penchant for complex, hyper-dissonant classical music. Leading figures like Terry Riley and Steve Reich looked to music’s most fundamental elements— simple scales, triadic harmonies, and straightforward rhythmic patterns—to forge a new musical language. Born from this "New York Hypnotic School," minimalism relied on sparse, consonant material and highly repetitive structures, and quickly built a devoted following. It was from these very ideas that Estonian composer Arvo Pärt found inspiration. Long before Pärt stripped his own style down to its bare essentials, he had shown a keen openness to external influences. As one of the first Estonian composers to adopt serialism—the complex technique popular after WWII—he achieved early acclaim. Yet by 1968, Pärt hit a profound creative crisis, publishing almost nothing for the next eight years. Instead, he immersed himself in medieval and Renaissance music and converted from Lutheranism to Orthodox Christianity—two key influences that would deeply shape his future aesthetic. In 1977, at the request of violinist Gidon Kremer, a champion of new music, Pärt composed the double violin concerto Tabula Rasa. The work was so unconventional that even Kremer needed time to grasp its subtle power. Built across two expansive movements, Tabula Rasa was Pärt’s first large-scale piece to feature his signature tintinnabuli style—a slow, meditative approach inspired by minimalist triads that reminded him of ringing bells (tintinnabuli being Latin for "little bells"). The piece marked a major turning point, compelling listeners and performers to hear music in an entirely new way while prompting the ECM record label to launch its acclaimed New Series in 1984. Though serene on the surface, the piece borders on hypnotic intensity, requiring intense concentration from everyone in the room. The first movement, Ludus (Latin for "game"), unfolds through eight variations of alternating tempos and punctuated silences, building toward a dramatic cadenza for the soloists and prepared piano— an instrument modified with objects placed on the strings

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to produce unusual, unpianistic timbres. The second movement, Silentium, slows the tempo even further, using a Renaissance technique called prolation, where different musical voices move at distinct, fixed speeds—here, with the lowest voice in the contrabass holding the fastest line and the solo first violin moving at the slowest pace. The movement is organized around the central pitch “D,” and once the movement has played itself out, instruments begin to fade from the scene, until only the contrabass is left, hovering on an E, one step above the central pitch. Pärt omits the final D at the end but rather concludes this fascinating and philosophical work with silence. Tabula Rasa refers to the Aristotelian concept of a blank slate—a soul unwritten by experience, holding infinite potential. In Pärt’s piece, every single note carries weight; there is nowhere to hide. And as noted above, silence, too, has become an active, integral element of the work. As Pärt has noted: "Before one says something, perhaps it is better to say nothing. For me, ‘silent’ means ‘nothing’ from which God created the world. Ideally, a silent pause is something sacred… this kind of sublime anticipation is exactly the kind of pause that I value so much."

Ludwig van Beethoven (1770-1827): Symphony No. 6 in F Major, Op. 68, “Pastoral” Instrumentation: Scored for pairs of winds (including piccolo), trumpets, horns, trombones, timpani, and strings Composed: 1802-1808 Duration: 39 minutes "I love a tree more than a man." –Ludwig van Beethoven One would be hard-pressed to find a greater nature lover than Ludwig van Beethoven. As an artist who struggled with personal relationships, he found vital solace in the countryside—a refuge where his mounting loneliness and severe hearing loss could recede. In an 1810 letter to Teresa Malfatti, he confessed, “How fortunate you are to be able to go into the country so soon…I look forward to it with childish excitement. How delighted I shall be to ramble for a while through bushes, woods, under trees, over grass and rocks. No one can love the country as much as I do. For surely woods, trees, and rocks give back the echo which man desires to hear.”

By the time he wrote those words, Beethoven's hearing had deteriorated dramatically; within a year, public piano performances became impossible. In addition to the burden his loss of hearing placed on his livelihood, it also increased Beethoven’s sense of isolation, and no doubt played into his insecurities and ability to find love or a suitable wife (Malfatti, the recipient of the above letter, was among those women unavailable to the composer). Just how much Beethoven could still hear in 1808, the year of his Sixth Symphony, remains open to debate, though the subtle sounds of nature were by now certainly lost to him. Still, Beethoven held nature’s essence in his mind's ear. During the spring and summer of 1808, he channeled this devotion into his Sixth Symphony, the "Pastoral," which premiered that December in Vienna, during a four-hour concert at the Theater an der Wien. Beethoven described the work not as literal "tone painting," but as "more the expression of feelings." Fresh off the heels of his dramatic Fifth Symphony, the Sixth took a strikingly different path. Spanning five movements instead of the traditional four, it captures the spirit of rural life across three main sections: I. Awakening of Cheerful Feelings upon Arriving in the Country II. Scene by the Brook III. Country Folk Gathering / The Storm / Shepherd's Song (played without pause) Rather than starting with explosive motives or grand drama, the Sixth opens quietly and simply. A sustained bass drone mimics rustic peasant instruments like the bagpipe, instantly transporting listeners to a tranquil landscape. The peaceful second movement paints a vivid woodland scene. Cascading strings mimic the gentle murmur of flowing water, leading into a stirring coda where the woodwinds deliver a masterclass in bird calls. Beethoven was so determined to make his intent clear that he explicitly named the birds in his original score—flute as nightingale, oboe as quail, and clarinets as cuckoo. He then demanded his copyists include them in the published version, ensuring that there would be no mistaking them in the future! The final sequence begins with a lively peasant dance that captures all the boisterous energy of a village gathering. The movement itself is cast as a scherzo, an outgrowth of the classical minuet, traditionally structured as A-B-A, with the inner B section offering some contrast

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to the flanking sections. In Beethoven’s hands, this middle movement often turned into something wilder, as it does here, the composer having replaced an aristocratic ballroom dance with a frolicking countryside romp. Beethoven also extends the movement, repeating the inner “trio” section, thus creating something more akin to A-B-A-B-A, with a truncation of the scherzo material the third time around. Suddenly, a violent thunderstorm interrupts the festivities—unleashing a dramatic orchestral tempest featuring roaring timpani—before rolling away into the distance. To his storm scene, Beethoven brings incredible orchestral effects, sounds meant to evoke swirling winds and lightning (piccolo), rushing water (rapid string passagework), and thunder (timpani). Such sonics would be harnessed by subsequent composers, from Richard Strauss to John Williams, all of whom remain indebted to the man who could no longer even hear such things when he composed this majestic work.

Out of the lingering clouds emerges a serene shepherd's call, leading into a joyous, reflective finale. The conclusion is among the most ebullient of Beethoven’s codas, a joyous homecoming capped off by a distant horn call that brings the movement full circle. Beethoven scholar Lewis Lockwood succinctly summed up the conclusion of the “Pastoral” with typical perfection: “The ending seems to confirm the peace of nature and the peace of the soul that the work had promised from the beginning, the feeling for which the composer had been longing all his life.”

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Composer/Performer

Project ProMusica Chamber Orchestra’s longstanding commitment to the performance of new music and supporting the work of living composers is demonstrated with 73 commissions and over 130 premieres to our credit.

Music Director David Danzmayr’s initiative, our Composer/Performer Project, has played a significant role in our broader goal to connect audiences to composers—not just masters of the past such as Beethoven and Mozart—but to the living musicians and artists of today. The entire life cycle of a new work is reflected: from creation, to development, to a premiere performance. This project is an effort to showcase today’s composers as not only creators of work, but soloists in their own right. While there was a time when this idea might not have seemed so novel (for example during the time that Mozart lived), ProMusica offers audiences a new and fresh perspective on living composers. The Composer/Performer Project launched in April 2014 and has since featured Lera Auerbach, Huw Watkins, Joshua Roman, Conrad Tao, Gabriela Montero, Richard Schofano, Xavier Foley, Noah Bendix-Balgley, Caroline Shaw, and Andy Akiho. This season, we welcome composer/performer Clarice Assad to the Southern Theatre stage with ProMusica.

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December Composer & Guest Artist

Clarice Assad “She energetically bends music to her will and reshapes it with fascinating results.” – Jazz Improv Magazine GRAMMY® Award–nominated composer, pianist, vocalist, and educator Clarice Assad is one of the most compelling and versatile creative voices in contemporary music. Born in Rio de Janeiro and based in Chicago, the BrazilianAmerican artist is celebrated for her evocative colors, rich textures, and fearless range across classical, world, jazz, and pop idioms. In February 2026, the American Academy of Arts and Letters awarded Assad the Andrew Imbrie Award in Music, recognizing a mid-career composer of demonstrated artistic merit. The previous year, she was named a recipient of the 2025 Meier Achievement Award by the Helen Coburn Meier and Tim Meier Charitable Foundation for the Arts, which honors Chicago-area artists who push the artistic envelope for their talent, persistence, and community involvement. That same month, she delivered the Kageyama-Hunt Global Speaker Series address at Belmont Hill School—a distinguished lecture series dedicated to global citizenship—speaking on the transformative power of music and creative life. In March 2026, her new string quartet work NEXUS received its New York premiere at Carnegie Hall’s Zankel Hall, performed by the Takács Quartet. Praised by the New York Classical Review and featured in The Strad under the headline “Let’s Clarice It Up,” the work guides four players through a dramatic arc of individuality, collision, and dissolution—asking, through music and choreography, what it truly means to play as one. With more than 130 works to her credit, Assad has received commissions from Carnegie Hall, the Philadelphia Orchestra, the LA Philharmonic, the Saint

Paul Chamber Orchestra, and many others. Her music has been recorded by cellist Yo-Yo Ma, percussionist Dame Evelyn Glennie, and violinist Nadja SalernoSonnenberg, and released on Cedille Records, SONY Masterworks, and Nonesuch. She is currently composerin-residence with the Allentown Symphony and recently concluded a residency with the University of Maryland, and has previously served in residence for the Albany Symphony, the Cabrillo Festival of Contemporary Music, and the New Century Chamber Orchestra. As a performer, she has appeared at Carnegie Hall, the Concertgebouw, Jazz at Lincoln Center, and Le Casino de Paris, sharing stages with Bobby McFerrin, Paquito D’Rivera, and Anat Cohen. Through her VOXploration education series—presented worldwide and supported by New Music USA and the McKnight Foundation—she brings music creation and improvisation to participants of all ages and backgrounds. Assad holds a Bachelor of Music from Roosevelt University in Chicago and a Master of Music from the University of Michigan and is the recipient of the Aaron Copland Award and multiple ASCAP composition awards.

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Photo Credit: Saverio Truglia

December Guest Artists

Third Coast Percussion Third Coast Percussion (TCP) is Chicago’s GRAMMY® Award-winning percussion quartet and GRAMMY®nominated composer collective that made history as the first percussion ensemble to win the revered music award in the classical genre. To date, TCP has garnered seven total GRAMMY® nominations, with the individual musicians receiving two additional nominations. Now in its third decade, TCP carries on its tradition of groundbreaking artistry with exciting and unexpected performances worldwide that constantly redefine the classical music experience and “push percussion in new directions, blurring musical boundaries and beguiling new listeners” (NPR). Representing “one of the most enterprising and creative ensembles working today” (WFMT), the artists of Third Coast Percussion are in-demand collaborators who have worked closely with a range of artists including choreographers Twyla Tharp, Lil Buck, and Jon Boogz; composer/performers Zakir Hussain, Jessie Montgomery, and Jlin; and composers Philip Glass, Missy Mazzoli, and Danny Elfman, among many others. The ensemble has been praised for the “rare power” (Washington Post) of its 30+ recordings, and its “inspirational sense of fun and curiosity” (Minnesota Star-Tribune).

Among the highlights of its 2026-2027 season, TCP tours two new programs: Vernacular, a collaboration with electronic music artist and composer Jlin, and Ripples in the Water: Philip Glass at 90. The Vernacular program will be captured in an album due out October 23, 2026 on Rockwell Records. Besides a full slate of performances at home in Chicago, the season brings TCP to a Carnegie Hall date and their Philadelphia debut, plus engagements in New York, San Francisco, Santa Fe, Richmond, London, Paris, Brussels, Amsterdam, Rome, and beyond. Known for its devoted audience engagement, TCP has performed live in 43 states and 18 foreign countries. The quartet has commissioned and premiered new works from Zakir Hussain, Jessie Montgomery, Philip Glass, Clarice Assad, Danny Elfman, and many more. Its recordings include 25 feature albums – including a GRAMMY®-winning album of Steve Reich’s works for percussion – and appearances on 17 additional collaborative releases. Its artists are also accomplished teachers who have developed a wealth of K-12 workshops and family programming, educational partnerships, and collaborations with Chicago institutions. The four members of Third Coast Percussion (Sean Connors, Robert Dillon, Peter Martin, and David Skidmore) met while studying percussion at Northwestern University and formed the ensemble in 2005.

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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

VIOLAS

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 Yvonne & Richard Burry Chair

BASSES

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

FLUTES

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

OBOES

Vacant, 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

HARP

Jeanne Norton, principal The Sustaining Board Chair

HARPSICHORD

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

ASSISTING MUSICIANS Hugo Souza oboe Brad Granville horn Amy Lassiter horn John Gruber trombone Christopher Blaha tuba

BASSOONS

ORCHESTRA MANAGER

HORNS

** Begins the alphabetical listing of string players who participate in a system of rotated seating. *On leave for the 2026-27 season +One year appointment

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

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.

PLAY! & Schubert’s Third Third Coast Percussion Clarice Assad, vocalist & composer David Danzmayr, conductor Southern Theatre // Saturday, December 12 // 7:00 PM Southern Theatre // Sunday, December 13 // 7:00 PM ASSAD Suite for Lower Strings I . With Energy II. With Joy III. Andante Simplice IV. Sweetly V. Wild ASSAD PLAY!

I . Tick, tock, scrape, pinch, blow, hit, splash, rip! II. A Hora (The Hour) III. Kinetic Energy T hird Coast Percussion Clarice Assad, vocalist & composer

Intermission

Intermission lasts 15 minutes SCHUBERT

Symphony No. 3 I . Adagio maestoso – Allegro con brio II. Allegretto III. Menuetto IV. Presto vivace

LUMBYE Champagne Gallop Support for PLAY! is made possible through the generosity of an anonymous donor. Stay for Coda: Post-Concert Conversation. Meet the featured artists and learn more about tonight’s program. 2 6 - 2 7 S E A S O N | promusicacolumbus.org

December

About the Music Clarice Assad (b. 1978): Suite for Lower Strings Instrumentation: Scored for string orchestra Composed: 2009 Duration: 16 minutes

Born in Rio de Janeiro, GRAMMY-nominated composer and performer Clarice Assad maintains a vibrant global career. Her works have been performed by renowned orchestras and chamber ensembles worldwide, including ProMusica. Her prestigious commissions—from institutions such as the League of American Orchestras, the Oregon Symphony, the Saint Paul Chamber Orchestra, and the Philadelphia Orchestra—attest to her widespread acclaim. As a skilled vocalist and pianist, Assad has shared the stage with legendary artists like Bobby McFerrin and Paquito D’Rivera, and her compositions have been recorded by classical icons including Yo-Yo Ma and Dame Evelyn Glennie. While much of Assad’s music celebrates her native Brazil, her 2009 Suite for Lower Strings turns toward the European Baroque, drawing heavily on the music of Johann Sebastian Bach. Designed as a clever reworking of Bach’s most famous themes, listeners will readily spot several iconic melodies throughout the score, including the dramatic opening of the Toccata and Fugue in D minor, heard at the very opening, Jesu Joy of Man’s Desiring, Sleepers Awake, Bach-Gonoud’s Ave Maria and the opening of the First Cello Suite. The most striking portions of the suite, however, are those imbued with the Assad’s inventive, dissonant musical vocabulary, catchy rhythms, and unorthodox percussive effects. As the title suggests, the melodic material traditionally presented by the violins is given over to the orchestra’s lower voices, while the upper strings fill accompanimental roles. Assad also frequently divides up Bach’s melodies among solo voices, thus attaining still greater sonic variation.

Assad: PLAY!

Instrumentation: Scored for pairs of flutes, oboes, clarinets, and bassoons, four horns, two trumpets, two trombones, tuba, timpani, percussion, vocal soloist, percussion quartet, and strings Composed: 2023 Duration: 25 minutes Composed in 2023 for the Third Coast Percussion quartet, Clarice Assad’s PLAY! reimagines the traditional threemovement concerto with virtuosity, kaleidoscopic colors, and playful humor. The first movement, “Tick, tock, scrape, pinch, blow, hit, splash, rip,” pays tribute to a variety of composers both past (J.S. Bach) and present (Phillip Glass), in ways that reveal themselves upon the vocalist’s entrance. Rather than singing, the vocalist speaks largely free of strict pitch or meter. In contrast, Assad’s instrumental score for both orchestra and soloists is intricately detailed, filled with shifting meters, precise dynamics, and driving rhythms. Keep an eye on the four soloists, who play, blow, or shake any variety of instruments, from marimbas and wood blocks to less orthodox noisemakers such as the rubber chicken, the thundertube, and the waterphone. As Assad notes, the movement ultimately celebrates "unique visions that lead to magical encounters with kindred spirits." Marked "Tenderly," the middle movement offers a relaxed, atmospheric soundscape floating between cool jazz and late 19th-century Impressionism. "The Hour," writes Assad, "marks a journey of self-discovery, urging us to embrace inner brilliance and shine in the world." Over a delicate, lush cushion woven by the orchestra and solo percussionists, the vocalist spins out flowing, ethereal melodies that elevate the movement’s reflective mood. The finale erupts with syncopated riffs on vibraphone, marimba, and strings, offset by sharp, punctuated jabs from the remaining soloists using squeaky toys, crow calls, and a kung fu fan, while the winds offer support with sustained chords. When the vocalist enters eleven bars in, it does so in the manner of a percussion instrument, with wordless virtuosic passagework. In fact, one might regard the entire ensemble as an orchestra of percussionists, pushing the music ever forward. In the haunting middle section, marked “Undisturbed," steady ostinato drumming supports an improvised, electro-acoustically processed vocal line

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(here, Assad calls for a TC Helicon vocal processor). Re-igniting its initial momentum, the movement hurtles forward through an optional soloists' cadenza and a highoctane orchestral coda, driving the energy straight to the final bar.

Franz Schubert (1797-1828): Symphony No. 3 in D Major Instrumentation: Scored for pairs of flutes, oboes, clarinets, bassoons, trumpets and horns, timpani and strings Composed: 1815 Duration: 23 minutes

It’s often tempting to tie a piece of music to its composer’s life story—a connection that holds for works like Beethoven’s "Pastoral" Symphony, which directly reflects his deep love of nature. Hearing Schubert’s Third Symphony in D major, one feels the buoyant energy of a young composer fully confident in his craft; even brief shadows, like the dark turns at the end of the opening phrases, are swiftly brushed aside. Yet behind this radiant score lies a difficult chapter in the eighteen-year-old’s life. In 1815, Schubert was stuck teaching young children at his father’s school, unable to secure a job as a composer, and barred from marrying the woman he loved due to his financial instability. Despite these hardships, the symphony bursts with the pure, exhilarating joy he must have felt whenever he sat down to compose. Despite these frustrations, 1815 turned out to be the most prolific year of Schubert’s life. He produced over 20,000 bars of music, including 140 songs, nine sacred works, and this symphony. Albert Stadler, a former schoolmate, once described Schubert's composure while working: “Completely unfazed by the chatter and noise of his fellow students, he sat at his desk writing smoothly and easily, making almost no corrections—as if composing were the most natural thing in the world.” Stadler’s observation hit the mark: writing music was as effortless as breathing for Schubert. While not every piece came so easily, it was certainly true for his Third Symphony, whose manuscript reveals remarkably few traces of effort or revision.

Schubert’s slow introduction plants the seeds for everything that follows. Notice the vivid wind writing, which becomes a central voice throughout the movement, as well as two seemingly minor motifs: a swift ascending scale and a two-note falling figure in the woodwind accompaniment. Though the introduction briefly hints at darkness, the playful clarinet theme opening the Allegro con brio instantly banishes any seriousness. Schubert immediately seizes on the falling two-note motif, turning it into the core of the melody and the oboe-and-horn response. Next, the rising scale returns to usher in a brilliant fortissimo statement from the full orchestra. Following a grand pause, the oboe introduces a second playful theme featuring a dotted rhythmic figure that will soon dominate the development. The movement's sonata-form structure is easy to track— anchored by dramatic orchestral chords—but two key details stand out. First, Schubert becomes obsessed with the oboe’s dotted rhythm, driving the development forward as the cellos and basses take it over. Second, after the clarinet restates its opening theme to mark the recapitulation, Schubert launches into a second mini-development. While such late-movement development was a trademark of Beethoven, it was highly unusual for Schubert—offering clear proof of the elder master's influence. Schubert originally planned for an Adagio to follow the opening movement—his manuscript reveals a few initial bars of a sweeping violin melody—but he abandoned it for a nimble Allegretto. This gem of a G-major movement unfolds in a simple ternary (A-B-A) structure. It opens with a lighthearted violin theme answered by the flute, contrasted by a sparkling clarinet melody. This central section offers a preview of the mature Schubert, evoking the lilt of his famous lied Die Forelle ("The Trout"), which later inspired his celebrated Trout Quintet. Schubert marks the third movement Menuetto Vivace—a clear sign of Haydn’s and Beethoven’s fast-paced minuets influencing the young composer. By placing heavy accents on the third beat, Schubert playfully transforms the once-courtly dance into a rustic, stumbling romp. The contrasting Trio takes the form of a charming Ländler, complete with oboe and bassoon duets that capture the cozy atmosphere of an Austrian country dance. The finale vaults out of the gate at a breathless Presto vivace, propelled by a galloping motif and a driving 6/8 meter in the opening violins. Schubert utilizes a tripping tarantella rhythm—reminiscent of Mendelssohn’s famous

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"Italian" Symphony finale, written nearly two decades later. In 1815, however, the eighteen-year-old Schubert sat in Europe’s musical capital, ideas flowing as fast as his pen could move. Rather than relying on contrasting themes, this movement is pure momentum—a study in continuous motion built on a single, exhilarating idea. The drama stems from its harmonic layout: despite the rapid tempo, the bass line moves deliberately, allowing Schubert to harness sudden shifts in dynamics. Starting pianissimo, the music surges to fortissimo in just 17 bars over a three-note bass pattern. After sixteen more bars and only two more chord shifts, the music snaps back to home base in D major, all while a relentless stream of eighth notes sweeps forward. Programmatic or not, the finale evokes a rider galloping across the countryside, constantly urged onward until the final, triumphant chords bring one of Schubert’s most spirited works to a close. Sadly, the Third Symphony shared the fate of so much of Schubert’s output—it was never performed publicly during his lifetime. In fact, it wasn't heard in its entirety until 1881, when August Manns, a close friend of the renowned scholar George Grove, conducted it at London’s Crystal Palace. Though it remains somewhat of a rarity on concert stages today, the symphony’s charm, humor, and sparkling grace make it a perfect fit for our lithe little band. Enjoy!

Hans Christian Lumbye (1810-1874): Champagne Gallop

Instrumentation: Scored for piccolo, flute, oboe, two clarinets, bassoon, pairs of horns and trumpets, percussion, and strings Composed: 1845 Duration: 4 minutes Though relatively obscure in the United States, Danish composer Hans Lumbye built a lasting European legacy— mostly thanks to his effervescent Champagne Gallop. Written in 1845 for Copenhagen’s Tivoli Gardens, the piece was even featured twice in the Vienna Philharmonic’s prestigious New Year’s Concerts (and lives on as the theme for the Danish TV quiz show Monte Carlo). Beyond the standard array of festive brass and woodwinds, the score calls for two uncommon additions: a xylophone—decades before it became a standard orchestral instrument—and a cork popper, which, regrettably, remains rare in modern percussion sections.

Lumbye’s musical path started early when he joined a military band as a 14-year-old trumpeter, later serving in the Copenhagen Horse Guards. His career truly took off, however, after he encountered the music of Johann Strauss I. Inspired by the Austrian master, Lumbye crafted a celebrated catalog of lighthearted waltzes, polkas, galops, and marches that earned him the moniker “The Strauss of the North.” His music grew so beloved in his home country that proud Danes eventually took to joking that Johann Strauss II was simply the “Lumbye of the South.” © Marc Moskovitz marcmoskovitz.org

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Assad PLAY! Original Text

English Translation

A hora chegou não era cedo nem tarde para transformar para calar os segredos A hora chegou e ela não havia marcado

The time has come, Not too early, nor too late, The time has come to transform, and to silence her secrets. The hour has come, and she had not chosen the day.

Desce angustiada escuridão por dentro a moça estremece, findando fechando se no vão Ela, uma estrela sem mistério cintila em meio aos céus da cidade No final de um túnel uma luz emerge e a estrela perdida No fulgor se aquece

An anguished darkness descends And within, the girl trembles Dancing, folding herself inside the void She is a star without mystery, flickering amid the skies of the city. At the end of a tunnel, a light emerges, and the lost star warms herself in its blaze.

Sem medo ou receio Ela se aproxima Ela se apropria Ao brilho se entrega Une se ao sol

Without fear or hesitation, she leans into the light, she takes it as her own, she yields to brightness, and joins the sun.

A hora chegou não era cedo nem tarde Pra lhe transformar pra lhe calar os segredos

The time has come, Not too early, nor too late, The time has come to transform, and to silence her secrets. The hour has come, and she had not chosen the day.

A hora chegou e ela não havia marcado

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Meet the Musicians

Katherine McLin

Rebecca Willie

concertmaster, 27 years The Michael Jones & Jody Croley Jones Chair Current Residence: Phoenix, AZ

assistant concertmaster, 12 years The Kathryn D. Sullivan Chair Current Residence: Greensboro, NC

Amy Cave

Kirstin Greenlaw

violin, 12 years The Randy & Marilyn Miller Chair Current Residence: Cleveland, OH

violin, 2 years Current Residence: Cincinnati, OH

Solomon Liang

William Manley

violin, 8 years The Laurie & Thomas W. Hill Chair Current Residence: Columbus, OH

violin, 21 years The Fran Luckoff Chair Current Residence: Columbus, OH

Jennifer Ross

principal second, 9 years The Brachman Smith Family Chair Current Residence: Jackson, WY

Eric Kline

violin, 15 years The Jim & Ida Copenhaver Ginter Chair Current Residence: Pickerington, OH

Victoria Moreira

violin, 12 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

violin, 2 years The Deborah Raita Chair 2 6 - 2 7 S E A S O N | promusicacolumbus.org Current Residence: Columbus, OH

Koko Watanabe

violin, 9 years The Sallie J. Sherman Chair Current Residence: Columbus, OH

David Rose +

Mary Harris

Michael Isaac Strauss

Vacant

acting principal viola, 2 years The Amy Thompson & Stephen Fechtor Chair Current Residence: Fredonia, NY

viola, 31 years The Margaret & Jerome Cunningham Chair Current Residence: Black Mountain, NC

viola, 11 years The Anne Powell Riley Chair Current Residence: San Diego, CA

viola The Keith F. & Katherine B. Dufrane Trust Chair

Marc Moskovitz

Cora Kuyvenhoven

Nat Chaitkin

Joel Becktell

principal cello, 32 years The Barbara Trueman Chair Current Residence: Durham, NC

cello, 26 years The Yvonne & Richard Burry Chair Current Residence: Columbus, OH

John Pellegrino

Boris Astafiev +

cello, 19 years The William K. Laidlaw Trust Chair Current Residence: Cincinnati, OH

cello, 18 years The Donna K. Laidlaw Chair Current Residence: Albuquerque, NM

Nadine Hur

Anthony Trionfo

principal double bass, 15 years The John F. Brownley Chair Current Residence: Columbus, OH

bass, 3 years Current Residence: Cincinnati, OH

principal flute, 6 years Current Residence: St. Louis, MO

flute, 6 years The Miriam & Bernard Yenkin Chair Current Residence: New York, NY

Vacant

Jessica Smithorn

Ilya Shterenberg

Jennifer Magistrelli

principal oboe The Lee Shackelford Chair

oboe, 8 years principal clarinet, 9 years The Artie & Alisa Isaac Chair The Beth Grimes-Flood & Tom Flood Chair 2 6 - 2 7 S E A S O N | promusicacolumbus.org Current Residence: Chattanooga, TN Current Residence: Bangor, ME

clarinet, 15 years The Jack & Betsy Farrar Chair Current Residence: Richfield, OH

Ellen Connors

Rachael Young

principal bassoon, 16 years The ML Chair Current Residence: St. Louis, MO

bassoon, 11 years The Carolyn Merry & Bob Redfield Chair Current Residence: Cincinnati, OH

Justin Kohan

Timothy Leasure*

principal trumpet, 3 years The Susan L. Quintenz Chair Current Residence: Pittsburgh, PA

trumpet, 23 years The Zunkiewicz Family Chair Current Residence: Pickerington, OH

Jeanne Norton

principal harp, 47 years The Sustaining Board Chair Current Residence: Columbus, OH

Stephanie Blaha

principal horn, 9 years The Todd S. Swatsler Chair Current Residence: Wadsworth, OH

Renee Keller

principal timpani and percussion, 13 years The Susan C. Johnson Chair Current Residence: Gahanna, OH

Aya Hamada

principal harpsichord/keyboard, 22 years The ProMusica Board Chair in memory of Ida Copenhaver Current Residence: New York, NY

* on leave for 2026-27 season + one-year appointment

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Matthew Oliphant +

horn, 4 years The Burkey Family Chair Current Residence: Chicago, IL

Rajesh Prasad

percussion, 13 years The Bob Redfield & Mary Yerina Chair Current Residence: Raleigh, NC

2025-26 Financial Support

Annual Fund Contributors ProMusica is sincerely grateful to the following donors who have supported our mission to deliver a world-class chamber orchestra experience by contributing to our Annual Fund during the 2025-26 season. We extend our heartfelt appreciation to each and every donor for their profound generosity. You are invited to join our dedicated circle of supporters by visiting our website at promusicacolumbus.org, contacting our Development Department at 614.464.0066 ext. 114, or scanning the QR code here:

MAESTROS GIFTS OF $10,000 AND ABOVE Lavea Brachman and Andrew O. Smith Dr. Richard and Yvonne Heather Burry Margaret Cunningham Keith Dufrane Jim Ginter Joan Herbers Michael Jones and Jody Croley Jones Helen Liebman and Tom Battenberg Dr. William Mitchell Ruth Sloan Kathryn Sullivan Todd Swatsler Ann and Doug Teske Amy Thompson and Stephen Fechtor Barbara Trueman Mary Yerina and Bob Redfield Anonymous ENCORE $5,000 - $9,999 Deborah Anderson George Barrett and Deborah Neimeth Fund of The Columbus Foundation Lauren Bonfield and Stephen Keyes John F. Brownley The Michael and Paige Crane Fund of The Columbus Foundation

Nancy and Steve Falk Betsy and Jack Farrar Beth Grimes-Flood and Tom Flood Susan C. Johnson Christine and Meri Kullberg Donna Laidlaw The Mary and Robert Lazarus Fund of The Columbus Foundation The Renée K. and George M. Levine Fund of The Columbus Foundation Elliott S. Luckoff The Seymour and Fran Luckoff Family Fund of The Columbus Foundation Nancy Marzella Emily B. McGinnis Susan and Ken Quintenz Anne Powell Riley David R. Schooler Hugh Schultz Caitlin Sherman Bernie and Miriam Yenkin The Zunkiewicz Family Anonymous

In Memory of Frances N. Lazarus Peggy Lazarus

SPECIAL GIFTS In Memory of Pamela Romeo Elliott James Elliott

CONCERTO $2,000 - $2,999 Robert Allen and Diane Weaver Catherine and John Brody Liz Bundy Trish and John Cadwallader Sylvia Fergus and Kent Rigsby

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

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In Honor of Susan Quintenz The Wilson Family Fund of The Columbus Foundation SYMPHONY $3,000 - $4,999 Sally and Roger Baughman Mary and Steve Burkey Patricia Cash Isaacson Lynn Elliott Dr. Dara A. and Mark H. Gillis Linda and Bill Habig Laurie and Thomas Hill Artie and Alisa Isaac – Yellow Springs Community Foundation Malloure Family Foundation Marilyn and Randy Miller Deborah Raita Sallie J. Sherman Dyann and Joel Wesp Becky Wright

2025-26 Financial Support Steven Hillyer Mark and Mary Howard George Knight and Ellen Berndt Warren and Dai-Wei Lo Mary Pat Martin and Rick Livingston Kara Trott and Bob Philips Lillian Webb SPECIAL GIFTS In Memory of George N. Corey Georgeann C. Corey RHAPSODY $1,000 - $1,999 Kenneth Ackerman Julia and Milt Baughman Paul and Tere Beck The Beeler Family Fund Evelyn Behm Ellen Bowden Robert V. Byrd Stephanie and Nelson Cary Bob and Julie Connors Mary Jo Conte Patricia Cunningham Patt and Chuck DeRousie Charles and Edith Emery Jerome Friedman and Julie Robbins Ann and Jack Fowble Pat and Darla Garavito Jack and Joan George Jacob and Katie Gibson Michael Gladman Joy & Michael Gonsiorowski Philanthropic Fund David Chan and Annjia Hsu Pam Hussen and Patrick Vincent Benita Kahn Mariko Kaneda-Niwa and David A. Niwa Susan and Barry Lubow Mike McGovern and Susan Hart

Brad Myers and Steve Rowlands Gerald and Ann Newsom Mary and Charles Oellerman Angela and John Petro Robert Poletto Cordelia Robinson Julie and Bob Rutter William and Patricia Sadataki Mark and Stacie Sholl Lydia Smith-Lockwood The Bruce and Joy Soll Family Fund of The Columbus Foundation The Ed and Nancy Strause Fund of The Columbus Foundation Nancy and Raymond Traub Adam Wagenbach and Kathleen Murphy Gail Walter and Allen Proctor John and Sherry Young Anonymous SONATA $500 - $999 Matthew Ando George and Vanessa Arnold Robin Dunn Blossom Barbara and David Brandt David and Susan Carr Laura and Pat Ecklar William and Christine Farquhar Cornelia Ferguson Mabel Freeman Michelle Gubola and Lee Fredette Robert Fry and Jan Quatman David Hedgecoth Joshua and Brandy Hill Jason Hunt Ann and James A. Jones Debby and Ira Kane Sharon Kokot Charlie and Linda Kurtz Lisa and Michael Maggard

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Robert McMaster Susan C. Meiling Kirk and Christine Merritt Thomas and Suzanne Moushey Larry and Peg Neal The Noyes-Krippendorf Fund of The Columbus Foundation Fred and Janet Roecker Paulette Schmidt Patti Shorr Bill and Maureen Severns Carl and Connie Smallwood Kitty and Jim Soldano Judi and James Stillwell James and Rosanne Weidaw Anonymous OVERTURE $250 - $499 Mary Ann and Michael Abrams Jane and Stan Ackley Diane and Ted Armbruster Stephen Bigley and Rebecca Roeder Connie Bodiker Katherine Borst Jones Rob and Jeanie Brubaker Todd Clark Kristy and Andy Etling Korine Fujiwara David and Patricia Gold Barbara Glover Stephen L. Grant Brian Hall and Family David Hedgecoth Vincent and Gayle Herried Estate of Carol Hershey Durell Chelsea Kiene and Jack Butler Deborah and Douglas King Eric Kline Catherine C. Kobacker Dennis M. Kovach Syd and Debora Lifshin

William and Jennifer Markovich Karen and Neil Moss Elizabeth and Kulu Moyo Harry and Sue Pukay-Martin Lenore Schottenstein William L. Slutz and Linda A. Roomann Hamilton and Margaret Teaford Laura Troup Ronald and Ramona Whisler Ruth Whitehouse Vivian Witkind Davis Leslie Yenkin and Jonathan Petuchowski Anonymous PRELUDE $100 - $249 Susan Altan Peter Auzers Valerie Barth John Besch and Beth Short Suzy and Adam Biehl Sabrina Bobrow Herbert Bresler Greg and Kim Bryan David and Lucy Buzzee Carolyn Caldwell, GPC, CFRE Linda and Alan Carter Donna Cavell Carol Chaitkin Willkie Cirker and Sharon Hamersley Charles Crawford Peter Coccia and Nena Couch Mary Collins Karen Davis Patrick Doss Betsy and Nick DeFusco Cindy and John Deliman Carol J. Del Propost Irene Dvoraczky Bell Joanne and Russell Crouse Erik and Annabel Edwards

David Fawcett and C. Wayne LaFaber Toba Feldman Tom and Bev Finnegan Judy and Ted Fisher Gary Flach Russ and Jan Fling Carole and Nelson Genshaft Martin Golubitsky and Barbara Keyfitz Ruth Guzner Mike and Harriet Hadra Susan M. Hartmann Brian Houts Victoria Jaffe David Jeggle Bruce Jensen Suzanne Karpus James and Phyllis Khoury Gale and Steve Klayman Wolfgang and Ursula Kunze Janet Lantz Sandra Lausecker Barbara and Timothy Lloyd Philip A. Lortz Suzy and Fred Lucci Ron and Becky Miller Alexandra Molitor Gary Moreland Sandra and Howard Pritz Rochelle and Alan Rosen Ronald L. Smith and Family Molly and Brian Snell Tom and Susan Szykowny Dina Tantra & Brian Kolda Jill Whitworth Margie and Thomas Williams Barb Wooldridge Paul Yeghiayan Olga Zakrahova Sarah Ziegler

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SPECIAL GIFTS In Memory of Barbara Reed Lambert David Lambert In Memory of Samuel and Lucy Porter Samuel H. Porter, III This list includes contributions made to ProMusica for the period of July 1, 2025 to June 30, 2026. 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.

2025-26 Financial Support

Institutional and Corporate Support Local and national foundations, government agencies, civic groups, and businesses are vital to the success of ProMusica’s artistic, education, and outreach programs. We are proud to partner with the following supporters who have joined our efforts to share the powerful impact of the arts during our 2025-26 season. If you’d like to learn more about how your institution can support ProMusica, please contact our Development Department at 614.464.0066 ext. 114.

SEASON SUPPORT

SERIES SPONSORS

THE CRANE FAMILY FOUNDATION

THE FOX FOUNDATION

Summer Music Series Presenting Sponsor Summer Music Series Presenting Sponsor

HONORARY SUPPORT The 2025 Columbus Foundation Award MAESTROS GIFTS OF $10,000 AND ABOVE American Electric Power The Kenneth L. Coe and Jack Barrow Fund of The Columbus Foundation Ingram-White Castle Foundation Nationwide PNC Bank Porter Wright Morris & Arthur The CORE Group of UBS Financial Services The Lee Shackelford Family Fund of The Columbus Foundation The Siemer Family Foundation

Ice Miller The Hattie and Robert Lazarus Fund of The Columbus Foundation The Harry C. Moores Foundation Jones Day Ologie Vorys, Sater, Seymour & Pease SYMPHONY $3,000-$4,999 Cardinal Health City of Columbus Recreation and Parks Department Crane Group Fechtor Advertising SONATA $500-$999 Jeni’s Splendid Ice Cream

ENCORE $5,000 - $9,999 BakerHostetler Fifth Third Bank 52

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MATCHING GIFTS We thank the following corporations that reflect the generosity of their employees, employee spouses, or retirees by matching gifts made to ProMusica. Don’t see your company listed? Contact your human resources or benefits department to see if your company has a matching gift program, and together we can magnify the impact of the arts in our community.   Bank of America Battelle Bread Financial Cardinal Health JP Morgan Chase Nationwide OPC Polymers PNC Financial Services UBS Matching Gifts Program

2025-26 Financial Support

2026 Soirée Sponsors, Patrons, and Donations ProMusica thanks the following groups and individuals for their generous support of our 2026 Soirée Benefit and Concert featuring GRAMMY Award-winning vocalist Samara Joy. The Soirée is an annual opportunity for our community to experience an exceptional night of music while creating an incredible impact together. Proceeds raised from the Soirée directly support ProMusica’s diverse array of artistic, education, and outreach programs. PRESENTING SPONORS The CORE Group of UBS Financial Services Porter, Wright, Morris & Arthur LLP The Kridler Family Fund of The Columbus Foundation Mary Yerina and Bob Redfield GOLD SPONSORS BakerHostetler Lavea Brachman and Andrew O. Smith Jim Ginter Ice Miller LLP Jones Day Jordan A. Miller, Jr. and Peggy Miller Ologie Lee Shackelford Vorys, Sater, Seymour and Pease LLP The Westin Great Southern Columbus SILVER SPONSORS Janet Chen and Rick Buchanan Crane Group Fechtor Advertising Joan Herbers Mary and Tom Katzenmeyer Christine and Meri Kullberg PNC Bank PLATINUM PATRONS George Barrett Barbara Brandt

John Brownley and Lynn Elliott Michael Burton Mark and Mindy Corna Estelle Diehl Tom and Ann DiMarco Dublin Toy Emporium Dr. Tracy L. Dumas Jim Elliott and John Behal Jack and Betsy Farrar Stephen Fechtor and Amy Thompson Kirk Fisher Kenneth Fultz Laurie and Tom Hill Irvin Public Relations Michael E. Jones and Jody Croley Jones Suzanne Karpus Enas Lanham Mary Lazarus Peggy Lazarus Nancy Marzella and Amy Spiess Brad Myers and Steve Rowlands Rachel Rourke Peyman and Kelly Salehi David R. Schooler Lee Shackelford Patti Shorr Wells CPA Miriam and Bernie Yenkin PATRONS Councilmember Nick Bankston and Habiba Bankston Milt and Julia Baughman Roger and Sally Baughman

Frank Birinyi, In Memory Of Catherine Wood Black Alder Meredith Harper Bonham Darci Congrove ELM VON DINE Keith Dufrane Todd A. Ehninger Nancy and Steve Falk Paul George Betty Giammar Susan Hart and Michael McGovern Chris Hune David Hogrefe and Brian Kemp Janet E. Jackson Cathy and Bobby Kellerman Steve Keyes and Lauren Bonfield Cathe Kobacker Donna Laidlaw Barry Liss Elliott S. Luckoff Susan and Bill McDonough Mary and Charles Oellermann Patti Orzano Jan Quatman and Robert Fry Deborah Raita Laurie Schmidt-Moats and Tim Moats Caitlin Sherman and Vineeth Sukrithan Sallie J. Sherman Stacie and Mark Sholl Lydia Smith-Lockwood Beth and Tom Stafa

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Stefan T. E. Thomas, Esq. Cynthia M. Whitacre Paul White Robert Wing Gregory Zunkiewicz DONATIONS Roger and Sarah Baughman Rochelle Rosen The Donald B. Shackelford Conservation Fund The Thekla R. Shackelford Fund Seyman and Sadie Stern Alec Wightman and Kathleen Murphy IN-KIND DONATIONS Brainstorm Media Chocolate Café Petals that Inspire RAFFLE PRIZE DONATIONS The Lion | Bexley Cocktail Bar and Coffee Shop PNC Bank The Refectory Restaurant Tiffany & Co., NYC Together & Company ProMusica Chamber Orchestra Board of Trustees Jake Gibson Bob Redfield and Mary Yerina Lee Shackelford Todd Swatsler Rachael Young 53

2025-26 Financial Support

Gifts to the Endowment Fund We deeply appreciate the following donors and the thoughtful gifts they have made to celebrate an occasion, commemorate a special date, or honor a loved one during ProMusica’s 2025-26 season. Gifts of this nature are included in the ProMusica Endowment Fund and help us build a lasting foundation for ProMusica’s future. Our wish is to ensure that the love instilled in these gifts is forever a part of our efforts to spread the joy of classical music. For more information on making a perpetual gift to the ProMusica Endowment Fund, please contact our Development Department at 614.464.0066 ext. 114. In Honor of Deborah Anderson Marilyn R. Smith In Memory of William Baker Kathleen O’Neil Hinklin In Memory of Thomas Jay Brown, Jr. Ronald Gambino Shannon Knapp The Michel Family In Honor of Yvonne and Richard Burry Marilyn R. Smith In Honor of Janet Chen Deborah Anderson Diane and Ted Armbruster Tom Battenberg and Helen Liebman Julia and Milt Baughman Katherine Borst Jones Ellen Bowden Lavea Brachman and Andrew O. Smith Dr. Richard and Yvonne Heather Burry Donna Conaty Mark and Mindy Corna James Elliott and John Behal Nancy and Steve Falk Betsy and Jack Farrar James Ginter Joan Herbers Steven Hillyer Suzanne Karpus Steve Keyes and Lauren Bonfield Christine and Meri Kullberg David Lambert Boyce Lancaster and Beverley Ervine Mary Lazarus Susan and Barry Lubow

Nancy Marzella Marianne and Don Mottley Brad Myers and Stephen Rowlands Thom O’Reilly Deborah Raita Bob Redfield and Mary Yerina Julie and Bob Rutter Laurie Schmidt-Moats and Tim Moats Lee Shackelford Dr. Lydia Smith-Lockwood Kathy Sullivan Todd Swatsler Miriam and Bernie Yenkin In Honor of Sarah and Richard Early Mary, John, Harold, and Andrew Picken In Honor of Jim Elliott and John Behal Sharon Cameron Ann S. and Thomas E. Hoaglin In Honor of Barbara Fergus and Janet Chen Special May Birthdays Susan and Ken Quintenz   In Memory of Lydia Hadley Ann S. and Thomas E. Hoaglin James and Kimberly Wilson In Honor of Joan Herbers Parkview Partners Capital Management In Memory of Ken Inamura Katherine Inamura   In Memory of Susanne Jaffe Susan Rosenstock

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In Memory of Liz Jennison William Jennison In Honor of Anne Kloos Dr. Richard and Yvonne Heather Burry In Memory of Wayne Lawson Sharon Cameron In Honor of Nancy Marzella, Sadie and Seyman Stern Janie Albright Blank John and Lane Rothschild In Memory of Tommy O’Reilly Julia and Milt Baughman In Honor of Bob Redfield John Yerina In Honor of Lee Shackelford Ann S. Hoaglin In Memory of Bob Wing ProMusica Sustaining Board This list includes endowment fund contributions made to ProMusica for the period of July 1, 2025 to June 30, 2026. Every effort has been made to ensure accuracy. 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.

2025-26 Financial Support

Play Us Forward Contributors ProMusica is truly thankful for the following supporters who have contributed to our Play Us Forward (PUF) program by making a monetary gift or donating an instrument during the 2025-26 academic year. PUF provides musical instruments, first-rate instruction, and engaging musical experiences to over 100 middle school students in Columbus at no cost to their families. Students participating in PUF learn valuable life skills including leadership, teamwork, and creative expression. The program inspires self-confidence, arts appreciation, and overall academic achievement for every student involved. Join us in sharing the joy of music with students in our community by supporting the Play Us Forward program. You can visit our website at promusicacolumbus.org or contact our Development Department at 614.464.0066 ext. 114 to learn more.

INDIVIDUALS Mark and Peg Bainbridge Robert V. Byrd Georgeann C. Corey Toba Feldman Steven Hillyer Janet Kerekes and Sam Vogel Susan McGarvey David Moore Karra Mowry Sue Porter and Mike Sayre Annie Spellman

PUF SCHOLARSHIP FUND CONTRIBUTORS We would like to express our heartfelt appreciation for the inaugural donors to the ProMusica Play Us Forward Scholarship Fund, established in May 2026. Scholarships from this fund will enable students from the PUF program to participate in meaningful educational opportunities that further their musical experiences outside the classroom. These opportunities include attending The Ohio State University Summer Strings Program at no cost and receiving free private music lessons. Contributions to the Scholarship Fund help us remove barriers and make quality musical experiences more accessible for students in central Ohio. We invite you to join this generous group of donors and make a difference in the lives of our local students. You can visit our website at promusicacolumbus.org or contact our Development Department at 614.464.0066 ext. 114 for more information.

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

James Anderson and Susan Nichols Laurie and Thomas Hill Carrie and Andrew Madison Philanthropic Fund Stanley W. Osborn Marian Seitz Carolyn Workman and Kurt Wacker

PROGRAM PARTNERS Graham Elementary and Middle School The Loft Violin Shop The Ohio State University School of Music United Schools

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

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Porter Wright is proud to support ProMusica’s vision of spreading the joy of music to audiences—in order to engage, inspire and connect them to the world around us. Congratulations on another successful season!

SEASON SUPPORT

 614.464.0066 • www.promusicacolumbus.org