ProMusica | The Fives 2022 Program Book by ProMusica Chamber Orchestra

C H A M B E R

O H I O P R O M U S I C A

O R C H E S T R A

C O L U M B U S ,

2021-22 SEASON

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

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CEO Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Music Director Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creative Partner & Principal Guest Artist Biography . . . . . . . . . . . . . . . . . . . . . . . . . . Important Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Boards and Administration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A Night of Folk Songs & Dances Biographies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About the Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Four Strings Biographies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About the Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Winds & Piano Biographies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About the Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Meet the Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Financial Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Season support Season partners ProMusica Chamber Orchestra 620 East Broad Street – Suite 300, Columbus, OH 43215 614.464.0066 • www.promusicacolumbus.org Program Design:

Orchestra & Musician photos:

4 6 7 8 9 1 1 17 1 9 20 23 25 26 28 31 32 34 37

Tom Battenberg & Helen Liebman Chair

Chief Executive Officer Dear Friends:

It has been twenty months since we were together for a full season of live music at the Southern Theatre. Indeed, we have navigated a very strange and complex year and a half – but we have emerged stronger than ever! Together, we experienced tremendous creativity, innovation, and deepening of friendships with all of you, and we are grateful. And now, it is with immense joy to welcome you to our 2021-22 season! This year, we celebrate our quintessential mix of the contemporary and cherished classics. Continuing our commitment to championing new works, we will perform the world premiere of our 68th commission, a double concerto from composer/cellist Joshua Roman. The Fives served as a wonderful host to us last year and we are thrilled to establish a new 3-part chamber music series, presented there later in the season. We welcome a remarkable roster of guest artists and rising and diverse young talents, featured alongside our own brilliant musicians. Our 43rd season will not be short on variety! Finally, THANK YOU — for your warm and generous support during a very difficult time. From sudden lockdown, to our reimagined “Season of Festivals” performances at The Fives, to our digital concert series, to now our very emotional first moments back onstage at the Southern Theatre. Thank you for your encouragement, for staying with us, and for inspiring us to keep playing. We look forward to sharing many transformative musical moments, and connectedness to one another. Warmest Wishes,

Janet Chen

Chief Executive Officer

Born in America and raised in Taiwan, Janet Chen has led an active and diverse career as a performing musician, arts administrator, and music educator. She holds both a bachelor's degree from the Oberlin Conservatory of Music, and a master's degree in flute performance from the University of Cincinnati College-Conservatory of Music. She completed the Executive Program for Nonprofit Leaders in the Arts — a joint program of the Stanford Graduate School of Business and National Arts Strategies. In 2019, Janet was named Chief Executive Officer of ProMusica Chamber Orchestra, having previously led the organization as Executive Director since 2006. In 2018, she was one of ten members representing Columbus at the Young American Leaders Program at the Harvard Business School. She has been selected as one of Columbus Business First’s “Forty Under 40”, and one of “19 NonProfit Innovators” by CityPulse Columbus. Janet has been featured in Columbus CEO Magazine, The Columbus Dispatch, and is a selected artist as part of Columbus, Ohio’s “Columbus Makes Art” marketing campaign. Most recently, she was named a 2021 honoree by the Women for Economic and Leadership Development (WELD). In 2018 she was recognized as a YWCA Columbus Woman of Achievement and honored by Business First as one of the “Most Admired Executives in Central Ohio.” Janet serves on the Boards of the Columbus Music Commission and Ohio Citizens for the Arts, and is a member of the Columbus Cultural Leadership Consortium. Prior to joining ProMusica, Janet served as Assistant Principal Flute with the Taipei Symphony Orchestra in Taipei, Taiwan and appeared as guest soloist several times performing Nielsen’s Flute Concerto and Mozart’s Concerto for Flute and Harp. Janet also spent two summers as a flute instructor at the Interlochen Center for the Arts in Michigan, where she coached and taught students who attended the Interlochen Summer Arts Camp. 2 0 2 1 - 2 2 S E A S O N | promusicacolumbus.org 4

Photo: Shellee Fisher Photography & Design for WELD

From the

Photo: Rick Buchanan Photography

The Elizabeth M. Ross Music Director

David Danzmayr

“ The performance was an unmitigated triumph.” Michael Tumelty, The Herald

“Extremely good, concise, clear, incisive and expressive” writes The Herald of David Danzmayr, who is widely regarded as one of the most talented and exciting European conductors of his generation. Following on a very successful tenure as Chief Conductor of the Zagreb Philharmonic Orchestra, Danzmayr was appointed Conductor Laureate, the youngest ever to hold this title in the orchestra´s history. Performing regularly to sold-out audiences in Zagreb´s Lisinski Hall and having been awarded the Zagreb City Award, Danzmayr and his orchestra also repeatedly toured to the Salzburg Festspielhaus, where they received standing ovations performing the prestigious New Year’s concert, and to the Wiener Musikverein. Danzmayr serves as Music Director of the creative and unique ProMusica Chamber Orchestra, an orchestra comprised of musicians from all over the United States. Here, he regularly commissions worldrenowned composer/performers to appear in the first performances of their works alongside the great classics, a mission that extends the creative spirit of classical music and places the core repertoire in a modern context. In February 2021, David was announced as the new Music Director of the Oregon Symphony. Previously David Danzmayr served as Music Director of the Illinois Philharmonic Orchestra in Chicago, where he was lauded regularly by both the Chicago Tribune and Chicago Classical Review for his performances. He was also the only conductor in the Chicago area, who programmed a piece of American music at every concert. David has won prizes at some of the world´s most prestigious conducting competitions including a 2nd prize at the International Gustav Mahler Conducting Competition and prizes at the International Malko Conducting Competition. For his extraordinary success, he has been awarded the Bernhard Paumgartner Medal by the Internationale Stiftung Mozarteum.

Building these early successes into a far-reaching international career, Danzmayr has quickly become a sought-after guest conductor for orchestras around the globe, having worked in Europe with the Deutsche Kammerphilharmonie Bremen, Vienna Radio, Stuttgart Radio, City of Birmingham, Hamburg, Basel, Bamberg, Odense, and Iceland symphonies, as well as Essener Philharmoniker, Bruckner Orchester, Mozarteum Orchester, Swedish Chamber Orchestra and others. In North America, his talents have propelled him to the finest of U.S. and Canadian orchestras in a very short time, where he has already conducted the likes of the Minnesota Orchestra, the Detroit, Houston, Oregon, Milwaukee, Utah, Vancouver, San Diego, Colorado, North Carolina, Pacific, New Jersey, and Indianapolis symphonies, the Los Angeles Chamber Orchestra and Grant Park Festival just to name a few. Besides numerous reinvitations, he will make major debuts this season with the Baltimore Symphony, San Antonio Symphony, Virginia Symphony, the Rochester Philharmonic and the BBC Orchestra of Wales. He has served as Assistant Conductor of the Royal Scottish National Orchestra, which he conducted in more than 70 concerts so far, performing in all the major Scottish concert halls and the prestigious, Orkney based, St Magnus Festival. David Danzmayr received his musical training at the University Mozarteum in Salzburg where, after initially studying piano, he went on to study conducting in the class of Dennis Russell Davies. Danzmayr was strongly influenced by Pierre Boulez and Claudio Abbado in his time as conducting stipendiate of the Gustav Mahler Youth Orchestra and by Leif Segerstam during his additional studies in the conducting class of the Sibelius Academy. Subsequently, he gained significant experience as assistant to Neeme Järvi, Stephane Deneve, Carlos Kalmar, Sir Andrew Davis, and Pierre Boulez, who entrusted Danzmayr with the preparatory rehearsals for his music.

“Clearly Danzmayr has what it takes.” –John von Rhein, Chicago Tribune

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Photo: Marco Borggreve

Creative Partner & Principal Guest Artist

Vadim Gluzman

Universally recognized among today’s top performing artists, Vadim Gluzman breathes new life and passion into the golden era of the 19th and 20th centuries’ violin tradition. Gluzman's wide repertoire embraces new music, and his performances are heard around the world through live broadcasts and a striking catalogue of award-winning recordings exclusively for the BIS label. Accolades for his extensive discography include the Diapason d'Or of the Year, Gramophone's Editor's Choice, Classica magazine's Choc de Classica award, and Disc of the Month honors from The Strad, BBC Music Magazine, and ClassicFM.

Highlights of the current season include performances with Orchestre Philharmonique de Radio France and Vassily Petrenko, NHK Symphony Orchestra under Tugan Sokhiev, Staatskapelle Dresden with Omer Meir Wellber, Gothenburg Symphony and Santtu-Matias Rouvali, Bamberg Symphony under Mikko Frank as well as Utah, Kansas City and Detroit Symphonies, Stuttgart Philharmonic, KBS Symphony and the Danish Radio Orchestra among others. Mr. Gluzman also leads performances with the Moscow Virtuosi Chamber Orchestra, Franz Liszt Chamber Orchestra and the ProMusica Chamber Orchestra, where he serves as a Creative Partner and Principal Guest Artist. Gluzman has premiered works by Sofia Gubaidulina, Moritz Eggert, Giya Kancheli, Elena Firsova, Pēteris Vasks, Michael Daugherty and Lera Auerbach. In the upcoming seasons he will introduce new violin concertos by Erkki-Sven Tüür and Joshua Roman. Distinguished Artist in Residence at the Peabody Conservatory in Baltimore, Gluzman plays the legendary 1690 ‘ex-Leopold Auer’ Stradivari on extended loan to him through the generosity of the Stradivari Society of Chicago.

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

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Important Information Latecomers will not be seated until the first convenient pause in the program. We kindly request your cell phones and/or other electronic devices are silenced before the concert begins. Photographing, videotaping, or sound recording of any performance without prior authorization from ProMusica is strictly prohibited. Special Needs Services are available. Please ask an usher for assistance. ProMusica can provide the following services with a minimum of four weeks’ notice before the concert date: • C oncert guides in Braille or large print, or audio recording with program order, program notes and guest artist biographies. • A sign language interpreter to interpret any vocal music that might be part of the program. • Assisted listening devices for sound amplification.

TICKETS OR ADDITIONAL INFORMATION Ticket Exchanges aare only available to season subscribers. Returned tickets qualify as a tax-deductible gift to ProMusica but must be returned no later than the Thursday prior to the concert. Call ProMusica at 614.464.0066 or return tickets by mail. Discounted Group Rates are available. Call 614.464.0066 for pricing and additional information. Student Tickets are available for $11 through the ProMusica Box Office. To purchase tickets or for additional information, call 614.464.0066, visit www.promusicacolumbus.org, or stop by the ProMusica Box Office from Monday, Tuesday, Thursday, and Friday 10:00 AM – 3:00 PM and Wednesday 10:00 AM – 1:00 PM at 620 East Broad Street, Suite 300.

OUR MISSION

To deliver a world-class chamber

About the Orchestra ProMusica and our 37 musicians are redefining what it means to be a chamber orchestra. For four decades, ProMusica’s programs have honored the classics and celebrated the contemporary through world-class performances and creative approaches to musical storytelling. Led by Music Director David Danzmayr and Creative Partner Vadim Gluzman, renowned violinist, the orchestra reaches a broad audience across the city—as the resident orchestra at the intimate Southern Theatre in downtown Columbus, and at notable venues beyond the I-270 outer belt. In 2017, ProMusica made its Chicago debut performing for a sold-out crowd at the North Shore Chamber Music Festival. We embrace an array of eras and influences—as masters of classical works, champions of bold new commissions and innovators of crossover collaborations, ProMusica’s performances are time-tested and modern, presented in ways that few orchestras can. We are widely recognized as

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

a national leader in promoting contemporary repertoire— with 68 commissions and more than 120 world and regional premieres by composers including Pulitzer Prize winners Kevin Puts and Aaron Jay Kernis, Gabriela Montero, Michael Daugherty, Lera Auerbach, Conrad Tao and Joshua Roman. In addition, ProMusica has an active recording program with 13 CDs released to date. This is a testament to the world-class musicians on stage who thrive on artistic exploration and risk-taking—performing with the highest skill, emotion and humanity for our audiences. Deeply rooted in our city’s cultural fabric, ProMusica’s community outreach programs impact approximately 17,000 lives each season. Musicians travel to local schools, senior citizens attend live rehearsals, and underserved youth are given life-changing opportunities with the power of music. Programs such as “Play Us Forward” offer an integrated, in-school curriculum, while family concerts at Columbus Metropolitan Library branches provide arts access in nurturing neighborhood environments. “Coda: Post-Concert Conversations” give the opportunity for a direct dialogue between audiences and guest artists— deepening engagement with the music and performers. Our annual Summer Music Series at Franklin Park Conservatory & Botanical Gardens is free and open to the public, demonstrating our unwavering commitment to offer accessible and transformative performances to all residents in our community. ProMusica is a truly personal arts experience, one that’s full of surprise and delight and belonging. ProMusica is more than an orchestra. It’s a movement. And we’re thrilled you’ve chosen to be a part of it tonight.

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Our commitment to the arts We are proud to support the ProMusica Chamber Orchestra. When superb professionals work in concert, amazing things happen. bakerlaw.com

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Board of Trustees and Administration OFFICERS President President-Elect Vice-President Vice-President Treasurer Secretary

William Faust, Ologie Matthew Fornshell, Ice Miller LLP Patricio Garavito, Cardinal Health Susan Lubow, BakerHostetler Elizabeth Turrell Farrar, V orys, Sater, Seymour & Pease LLP Bob Redfield, Civic Leader

TRUSTEES Maceo Bates, PNC Bank +Lavea Brachman, Brookings Institution +Ryan Crowley, Citi Lynn Elliott, Columbus Window Cleaning Adam Ferguson, Huntington Bank Joan Herbers, The Ohio State University Laurie Hill, Civic Leader Dave Humeston, CoverMyMeds Brent Jackson, Fifth Third Bank +Stephen Keyes, Abercrombie & Fitch Nichole Marshall, Pinterest Bill McDonough Elizabeth Moyo, Porter, Wright, Morris & Arthur LLP Jessica Mrowzinski, Worthington Industries John Pellegrino, ProMusica Musician Representative Susan Quintenz, Civic Leader Julie A. Rutter, American Electric Power Lee Shackelford, Physician Mark Sholl, Hilliard City Schools +Todd Swatsler, Partner (retired), Jones Day Sergio Tostado, Jones Day EX-OFFICIO Janet Chen, Chief Executive Officer The Tom Battenberg & Helen Liebman Chair David Danzmayr, Music Director The Elizabeth M. Ross Music Director Betty Giammar, Sustaining Board Representative

ADMINISTRATION Janet Chen

Chief Executive Officer T he Tom Battenberg & Helen Liebman Chair David Danzmayr Music Director The Elizabeth M. Ross Music Director Vadim Gluzman Creative Partner & Principal Guest Artist Yvette Boyer Finance Manager Carolyn Jakubczak Ticketing & Patron Services Manager Suzanne Jennison Operations Assistant Ann Kriewall D irector of Education & Community Engagement Matthew Kurk D irector of Advancement & Engagement Brittany Lockman Director of Marketing Mariana Szalaj Director of Orchestra Operations The Regie & David Powell Chair Margaret Wells Executive Assistant & Board Liaison Lisa Wente Grants Consultant TRUSTEES CIRCLE Artie Isaac, Chair Deborah Anderson Tom Battenberg Milt Baughman Mark Corna Peter Costanza Patt DeRousie James Elliott Beverley Ervine Jim Ginter Melissa Ingwersen

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

+ Executive Committee Member 2 0 2 1 - 2 2 S E A S O N | promusicacolumbus.org

WISHING YOU A FANTASTIC SEASON, PROMUSICA!

Sustaining Board Since 1988, members of the ProMusica Sustaining Board have volunteered to raise community awareness and funds for the orchestra. Our membership and events help sustain ProMusica’s artistic and education programs. Annual membership dues are $50 (Musician), $125 (Principal) and $200 (Concertmaster). Join us and be part of this legacy! EXECUTIVE COMMITTEE Betty Giammar President Sally Baughman Vice-President Marquell Segelken Secretary Michael Maggard Treasurer PAST PRESIDENT ADVISORS Claudia Abrams Yvonne Burry Donna Laidlaw Mary Yerina APPOINTMENTS Mary Oellermann, Laurie Schmidt-Moats, and Stephanie Stephenson Culinary Capers XXVIII Melissa Schmidt Historian Mary Faure, Lisa Maggard, and Judy Michaelson Marketing Richard Burry, Donna Cavell, Jennifer Markovich, and Bob Redfield Membership Lisa Maggard Newsletter

Yvonne Burry Nominating Marianne Mottley Special Events Rose Hume Sunshine MEMBERS-AT-LARGE Beverley Ervine Paul George Boyce Lancaster Barry Liss Thom O’Reilly Lee Shackelford Dyann Wesp CONCERTMASTER MEMBERS Anonymous Claudia Abrams Sally Baughman Richard Burry Yvonne Heather Burry Sandy Byers Maggie Cunningham Harriet Donaldson Ellen Kay Douglas Beverley Ervine Ellen George* Betty Giammar Beth Grimes-Flood Laurie Hill Steven Hillyer Jody Croley Jones Michael Jones Donna Laidlaw Boyce Lancaster

Mary Lazarus Barry Liss Lisa Maggard Jennifer Markovich Deborah Norris Matthews Judy Michaelson Marianne Mottley Larry Neal Mary Oellermann Thomas O’Reilly Dorothy Pritchard Susan Quintenz Deb Raita* Bob Redfield Melissa Schmidt Laurie Schmidt-Moats Lee Shackelford Sallie Sherman Stephanie Stephenson Elizabeth Williams Robert Wing Miriam Yenkin Mary Yerina PRINCIPAL MEMBERS Nancy Brownell Donna Cavell Janet Chen Marilee Chinnici-Zuercher Elizabeth Turrell Farrar Marion Fisher Rose Hume Andrew Maggard Nancy Marzella* Marybeth McDonald Susan McDonough Jane McMaster

Contact the Sustaining Board at sustainingboard@promusicacolumbus.org. promusicacolumbus.org/sustainingboard 2 0 2 1 - 2 2 S E A S O N | promusicacolumbus.org

Hugh Schultz Gail Walter Dyann Wesp Margie Williams Serie Zimmerman MUSICIAN MEMBERS Ellen Bowden Lindsey Dunleavy Lynn Elliott Mary Faure Paul George Barbara Goettler* Sue Gross Elayne Gunder Jessica Kim Linda Kurtz Kathy Ludlam* Cindy Mackin* Michael Maggard Anne Powell Riley Elizabeth Sawyers Marquell Segelken Becky Wright* * New or returning member

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

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

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300+ lawyers in Columbus & other offices

For more information about the Ohio Arts Council’s grants, programs, resources, and events, visit oac.ohio.gov.

FEBRUARY

FEATURED

ARTISTS

Victoria Moreira VIOLIN

The Dyann & E. Joel Wesp Chair Violinist Victoria Moreira, founding member of the Kaia String Quartet (WFMT 2017 Ensemble-in-Residence) has performed extensively throughout the USA, Canada, Mexico, Asia and South America. First Prizewinner of Viva El Tango Agustin Carlevaro Competition and Music Director of the American Tango Institute, Moreira’s diverse musical background keeps her involved internationally in the Tango scene. Her latest recording projects include Quartango, an album of tango for string quartet; Latinoamerica, a CD of all Latin-American works and a co-production with Mark Sonksen Vicisitudes with Tangata Ensemble. Previous projects include Sonksen’s Postales del Sur and Argentina Tango on Stage, with Carlos Marzan and his ensemble in Buenos Aires, Argentina. Moreira has been involved as a solo, chamber and orchestral musician in Chicago as concertmistress of Oistrakh Symphony Orchestra and Assistant Concertmaster of Northbrook Symphony. She has also performed in the Chicago Latino Music Festival since 2007 and at the Chicago Tango Festival since 2006. She performs as a soloist with West Suburban Symphony in Illinois yearly. In addition to her membership with the Kaia String Quartet, she has also collaborated with Rush Hour Concerts, Ondas Ensemble, Intersection from Nashville, the MAVerik Ensemble and the national Chamber Ensemble of Uruguay. She was also winner of the 2010 DePaul Concerto Competition. Moreira is a faculty member at DePaul University Community Music Division and has a private studio in the Chicago area. She is a passionate Suzuki teacher and devoted educator through her string quartet, including KAIA KIDS, an initiative through WFMT and PBS Kids. Other projects include Tango workshops for violinists at Old Town School of Folk Music, outreach concerts through Ravinia, Evanston in School Music Association, and Promotora de las Bellas Artes in Mexico. Moreira studied at Escuela Universitaria de Musica, Montevideo Uruguay under Jorge Risi, received her Bachelor of Music at Roosevelt University under Vadim Gluzman and her Master of Music and Artist Certificate at DePaul University under Ilya Kaler. She also did a residency at Northern Illinois University with the KAIA String Quartet under the tutelage of the Avalon String Quartet.

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Renee Keller

MARIMBA & PERCUSSION The Michael & Jody Croley Jones Chair

Joel Becktell CELLO

The Donna K. Laidlaw Chair Cellist Joel Becktell has performed, taught, and lectured throughout North and Central America and Europe. He has been a member of the Buffalo Philharmonic Orchestra, the Nichols Quartet, the Harrington String Quartet, and the Moveable Feast chamber ensemble. He has served as Principal Cellist of the Austin Symphony Orchestra and the Santa Fe Pro Musica and is Assistant Principal cellist of the Santa Fe Symphony. Joel appears frequently on Baroque and modern cello and violoncello piccolo as soloist and with ensembles throughout North America. He is a founding member of Movable Sol and the baroque ensemble BWV, both of which perform a popular, intimate concert series in New Mexico. Joel has appeared as soloist with the Buffalo Philharmonic Orchestra and the Santa Fe Symphony. He has recorded for Marquis Classics, Revel Records, Parma, and Blue Griffin Records labels. His latest CD, Bach’s Solo Cello Suites, Volume I, featuring two complete recordings of the first three Bach Suites (one on modern cello, one on a period baroque cello) was released in 2014. Joel is a graduate of the Cleveland Institute of Music, where he received his Bachelor and Master of Music degrees with honors. His teachers include Anne Cole, Alan Harris, and Stephen Geber. A dedicated teacher and coach, Joel teaches privately and at various festivals and master classes. He has also written on pedagogical and luthiery topics for Strings Magazine. Joel is also a studio artist, and his paintings, photographs, and ceramics are in private collections around the world. Performance videos and photos of his artwork can be seen at joelbecktell.com.

Renee Keller is the Principal Timpanist/Percussionist of the ProMusica Chamber Orchestra in Columbus. She has previously held positions as Principal Percussionist of the Milwaukee Ballet Orchestra, Percussionist with the Fort Wayne Philharmonic, Percussionist with the Civic Orchestra of Chicago, and Percussionist with the Lakes Area Music Festival in Brainerd, MN. She has performed regularly with a number of orchestras around the country including the Chicago Symphony Orchestra, Kansas City Symphony, the Dayton Philharmonic, and the Toledo Symphony. Renee’s percussion duo, Duoma, has a focus of bringing relatable and accessible classically-oriented music to all audiences with a focus on performing original works and arrangements, including works focused on introducing students to chamber music and extended techniques. Duoma has performed at conferences and festivals including the 2018 Music By Women Festival in Mississippi, the 2018 National Conference on Percussion Pedagogy in Arkansas, the 2020 National Association of College Winds and Percussion Instructors, and high school percussion festivals in Ohio. In addition to being a player, Renee is Marketing and Education Coordinator at the Lima Symphony Orchestra in Lima, OH, where she is responsible for developing original educational content and programs for the Symphony. Renee is also lecturer of music at The Ohio State University at Lima where she regularly teaches courses on music cultures and music history. Renee has previously taught courses on percussion and music at a number of universities including Bowling Green State University, Ohio Wesleyan University, Northwestern University, Northeast Illinois University, Bluffton University, Ohio Northern University, and Ivy Tech Community College. Renee also has an interest in percussion scholarship and research, with a focus on diversity, inclusion, and accessibility. She has been published numerous times in Percussive Notes and has vibraphone arrangements published by Pocket Publications, LLC. Renee holds a Bachelor of Music degree from The University of Michigan, Master of Music degree from Temple University, and Doctor of Music degree from Northwestern University. Renee’s principal teachers include Ruth Cahn, Michael Udow, Alan Abel, Chris Deviney, Frederic Macarez, Jim Ross, and She-e Wu.

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A Night of Folk Songs & Dances Victoria Moreira, violin • Joel Becktell, cello • Renee Keller, marimba & percussion The Fives // Friday, February 18 // 7:30 PM ASTOR PIAZZOLLA

Fugata

ASTOR PIAZZOLLA

Mumuki

ELBIO BARILARI (b. 1953)

The Mysteries [World Premiere] I. Delphic Dance II. Adonic Dance III. Eleusinian Dance

ZOLTAN KODÁLY

Duo for Violin and Cello, Op. 7

(1921-1992)

(1882-1967)

Intermission

Intermission lasts 15 minutes

EZEQUIEL DIZ

Poema Bachiano

ENRIQUE GRANADOS (1867-1916)

Danza Espagnol No. 2 "Orientale" arranged for Cello and Piano (adapted for cello and marimba)

BÉLA BARTÓK (1881-1945) arr. Karl Kraeuter

Selected Hungarian Folk Melodies for Violin and Cello (adapted for vibraphone and cello) I. Allegro ironico III. Moderato IV. Choral – Andante

ASTOR PIAZZOLLA

Milonga del Angel

ASTOR PIAZZOLLA

Lo que vendrá

(b. 1977)

Chamber Music at The Fives is underwritten by an Anonymous Donor. Additional support from: 2 0 2 1 - 2 2 S E A S O N | promusicacolumbus.org

FEBRUARY 18 About the Music The Jon Mac Anderson Program Notes underwritten by Porter, Wright, Morris and Arthur, LLP

Music, like language or dance, has the potential to evoke the character of the country in which it was composed. And such music can take many forms. Sometimes a composer will imbue a composition with the rhythmic or natural accents of his or her language, particularly if such patterns are unique to that culture. In other cases, the unmistakable rhythmic patterns or melodic or gestures of a national dance, such as flamenco, provide folk flavor or local color. We are all familiar with composers who have re-created the feel of another’s land or culture— Bizet, a Frenchman, creating the Spanish feel in his opera Carmen, is but one of many such examples. But tonight, our performers have chosen a group of “home grown” composers, whose unique and unmistakable styles are so deeply rooted in their respective homelands as to have influenced nearly everything they wrote. (Note: our own Renee Keller has adapted the Piazzolla, Granados and Bartók for marimba and vibes, works previously arranged for other instrumentation). ProMusica audiences are no strangers to the sounds of Astor Piazzolla (1921-1992), the late Argentenian composer who reinvented the tango for our time, imbuing it with features from jazz and classical music. Known as neuvo tango, Piazzolla composed largely for himself—he was a virtuoso of the bandoneon, an accordion-like instrument— and various ensembles ranging in size from quintet to orchestra. Piazzolla’s musical knowledge was vast, having studied tango with his countrymen and the scores of Bach, Stravinsky and Ravel with Ginastera, his country’s foremost classically-trained composer. All of it comes through in his scores, which have been arranged for a seemingly infinite number of instrumental combinations. Over the course of the evening, you will hear four Piazzolla selections—Fugata, Mumuki, Milonga del Angel and Lo que vendrá—a microcosm of the tremendous portfolio of work

the composer left behind. Each piece is a gem, strongly reflecting the romantic passion and intellectual power of this giant. We will also hear music tonight of a contemporary Argentine, Ezequiel Diz’s Poema Bachiano, for violin and marimba. Like Piazzolla, Diz is also drawn to the world of tango and Bach, though it is the latter whose music, specifically the D minor Piano Concerto—performed by ProMusica this past December with pianist Simone Dinnerstein—that informs this seven-minute rhapsody. The remainder of tonight’s program is drawn from European-born composers, including two of Hungary’s greatest composers, Zoltan Kodály (1882-1967) and Bela Bartók (1881-1945). Both men shared a love of the folk music of their native land and in the early years of the 20th century traveled to remote villages with phonograph cylinders, recording the songs and instrumental performances of the peasants. Kodály’s and Bartók’s subsequent collections form some of the most vital ethnographical sources of 20th century folk music. Kodály’s own music remained under the radar until 1923, at which time he scored a huge success with his orchestral work, Psalmus Hungaricus, the title alone which provides ample evidence of his passion for the music of his people. His Duo, Op. 7, for Violin and Cello, composed on the eve of WWI, remains one of his best-known chamber works and ranks among the most formidable compositions of the duo repertoire. The work is constructed of three movements: a conventional sonata-form first movement (Allegro serioso non troppo) comprised of two main themes, a muscular idea introduced by the cello and a more plaintive melody, marked tranquillo, non espressivo—tranquil but inexpressive—and which Kodály sets to a skipping pizzicato accompaniment. The expressive Adagio, with its long-hewn themes and eventual air of turbulence, suggests an atmosphere of premonition, perhaps reflecting Kodály’s personal despair about world events. The third movement opens slowly and rhapsodically (Maestoso e largamente) but eventually gives way to a virtuosic Presto. In sum, Kodaly’s brilliant score, infused with pentatonic (five-note) scales and

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folk-inspired pizzicato gestures, chordal patterns and ornamentation, makes for a truly unique experience that often belies the mere presence of two performers. Bartók’s Hungarian Folk Melodies provide us with a strong sense of the range of emotion Bartók encountered traveling around the Hungarian countryside (he subsequently widened his travels, journeying into Transylvania, Bulgaria, Moldavia and Algeria) and we can only imagine the looks of curiosity and perhaps even fear, as he set up his “modern” equipment to capture the musical souls of the folk, many of whom had probably never set foot outside their village. Beyond its ethnomusical importance, such work also proved seminal to Bartók’s own composing, as he himself later discussed:

return, the ship upon which he and his wife were traveling was torpedoed and though accounts vary as to what happened next, both perished as a consequence of the attack. Granados composed his 12 Danzas españolas for piano but as with the music of Piazzolla, their popularity has spawned arrangements for nearly every conceivable ensemble, including a version for four accordions and double bass! Tonight, you will hear the Orientale, No. 2 in an arrangement made by the great Russian cellist Gregor Piatagorsky. Granados’ wistful melody and easterninspired turns of phrase make it clear why cellists have claimed this piece as one of their own.

The outcome of these studies was of decisive influence upon my work because it freed me from the tyrannical rule of the major and minor keys. The greater part of the collected treasure, and the more valuable part, was in old ecclesiastical or old Greek modes, or based on more primitive (pentatonic) scales, and the melodies were full of most free and varied rhythmic phrases and changes of tempi, played both rubato and giusto.

In the Kraeuter’s version for violin and cello of some of these folk songs, we can fully appreciate the other-worldly sounds Bartók experienced, along with the pride and love he discovered for the music of his people, a passion no doubt fueled by the nationalistic sentiment that sprang from The Great War. Last but not least we have Danza Espagnol No. 2 “Orientale” of Enrique Granados (1867-1916), among the greatest classical composers to come out of Spain. The son of a Spanish army captain, Granados was Spanish through and through, so it seems only fitting that his Goya-inspired composition Goyescas provided his real breakthrough. He expanded this piano work into an opera and after the outbreak of war forced the opera’s cancellation, Granados traveled to America for its premiere (while here he also performed for President Woodrow Wilson). Upon his

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The Timashev Family Music Building — Opening Autumn 2022 Part of the new Arts District at The Ohio State University

SCHOOL OF MUSIC

A place for making exceptional music, exploring educational methodology, conducting groundbreaking research and stimulating creative expression and artistic growth. Explore events and outreach at music.osu.edu. Learn more about the Arts District at asc.osu.edu/arts-district.

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

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

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MARCH

FEATURED

ARTISTS

Katherine McLin VIOLIN

The Donald G. Dunn Chair

Violinist Katherine McLin enjoys an extremely varied and prolific performing career as a concerto soloist, recitalist, and chamber and orchestral musician. Since her debut with the Oregon Symphony at the age of fifteen, Katie has made over 100 appearances as soloist with orchestras across the country. In addition to performing the standard canon, she is an enthusiastic advocate of new music and has either premiered or given second performances of concerti by John Adams, Lera Auerbach, Hans Gal, and Joel Puckett. Katie appears on 20 compact disc recordings under the Summit, Centaur, and Opus One labels. Her live and recorded performances have been broadcast on NPR’s Performance Today, NYC’s WQXR, and local television and radio stations throughout the country. As a member of the McLin/ Campbell Duo with pianist Andrew Campbell and frequent chamber music collaborator with colleagues around the world, Katie performs extensively throughout the United States and abroad. She serves as a guest artist at numerous summer chamber music festivals, most recently with the Interharmony International Music Festival (Italy), Saarburg Chamber Music Festival (Germany), Chintimini Chamber Music Festival (OR), Red Rocks Music Festival (AZ), and the Orlando Chamber Players at the Festival of the Black Hills (SD). Since 2007, Katie has held the position of Concertmaster of the ProMusica Chamber Orchestra. Previously she served as Concertmaster of the Brevard Music Festival Orchestra, Chattanooga Symphony, Arizona Philharmonic, Michigan Sinfonietta, and the Aspen Sinfonia Orchestra, and Principal Second Violin of the Michigan Opera Theater Orchestra. A committed and passionate teacher, Katie was awarded the Evelyn Smith Professorship in Music at Arizona State University in 2016, a three-year endowed position that recognizes a faculty member who demonstrates outstanding leadership in their field. In 2004 she was awarded the Distinguished Teacher Award for the College of Fine Arts, chosen from over 170 faculty, and was a finalist for the 2007 university-wide ASU Professor of the Year award. Katie received her doctorate in violin performance from the University of Michigan as a student of Paul Kantor. She holds additional performance degrees from Indiana University and the Oberlin College Conservatory, and for three years was an orchestral fellowship recipient at the Aspen Music Festival. Her former teachers include Franco Gulli, Josef Gingold, and Kathleen Winkler.

Mary Harris VIOLA

The Margaret & Jerome Cunningham Chair

Mary E. M. Harris is Professor of Viola at Miami University in Oxford, Ohio, and member of the Oxford String Quartet. An avid performer, she is also principal violist of ProMusica Chamber Orchestra in Columbus, Ohio and violist of the Nexus String Quartet. In addition, she is a founding member of Cosmos, a flute, viola and harp ensemble dedicated to commissioning and performing new works for this combination. Cosmos’ recent recording, American Premieres on MSR Classics, features works written for and premiered by the trio to critical acclaim. A former member of the Dakota String Quartet and I Musici de Montreal, Ms. Harris has served as principal violist of the New American Chamber Orchestra, touring Europe extensively and performing at the Korsholm, Casals, and other international festivals. She also served as principal of the Echternach Festival Orchestra in Luxembourg and has performed with the Garth Newel Festival in Virginia. For many years, Ms. Harris has spent her summers performing at the New Hampshire Music Festival and the Peter Britt Festival in Jacksonville, Oregon. She also performs at the Serafin Summer Music Festival in Wilmington, Delaware. She is a graduate of Indiana University (Bloomington), where she studied with Mimi Zweig and Georges Janzer. She holds M.F.A. and M.M. degrees from the Institute of Chamber Music at the University of Wisconsin in Milwaukee, where she studied and performed with members of the Fine Arts Quartet and performed on WFMT-Radio in Chicago. Ms. Harris is an enthusiastic dog-lover, hiker and backpacker!

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Marc Moskovitz CELLO

The Barbara Trueman Chair

The son of a professional violinist, the musical path of cellist Marc Moskovitz has taken him from North Carolina to Indiana, Berlin, Virginia, Ohio, Boston and finally back to North Carolina. He has held positions at The University of Virginia and The University of Toledo, where he served as associate professor of cello and cellist of the Toledo Trio. In 2001, Marc moved to Boston, where he performed with some of the city’s most venerable music organizations, among them The Boston Pops and The Handel and Haydn Society, both of with which he toured, and the Boston Modern Orchestra Project, with which he frequently recorded. As co-founder and cellist of Montage Music Society, he gave the North American premiere of Zemlinsky’s rediscovered Cello Sonata at the Library of Congress, which the Washington Post called “an impassioned performance.” 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 has also performed as a guest of the International Piatti Festival in Bergamo, Italy. In addition to his work as principal cellist of the ProMusica Chamber Orchestra, he performs regularly with the North Carolina Symphony and is founder of the Trinity Park Salon Series, a house music concert series in Durham, NC. A former student of cellists Janos Starker and Gary Hoffman, Marc holds a doctorate and master’s degree from Indiana University and spent one year in Berlin with cellist Wolfgang Boettcher as a Fulbright scholar. A committed scholar, Marc has written on a variety of musical subjects and for various music journals. He is the author of Alexander Zemlinsky: A Lyric Symphony and co-author of Beethoven’s Cello: Five Revolutionary Sonatas and Their World, both published by Boydell & Brewer (UK). In addition to writing the program notes for the ProMusica Chamber Orchestra, Marc has provided program notes for orchestras and opera houses in Germany, Spain and China as well as the U.S, and liner notes for the Melba and Naxos record labels. His entries on historical cellists are found in The New Grove Dictionary of Music and Musicians and his forthcoming book, MEASURE: In Pursuit of Musical Time, will be published this fall. When in Columbus, Marc performs on a cello owned by Catherine Adams. The instrument was owned and played by her greatgrandfather, a professional cellist-turned-homesteader, who immigrated to America after serving in the court of the King of Hanover.

John Pellegrino DOUBLE BASS

The John F. Brownley Chair

John Pellegrino is Principal Bass of the ProMusica Chamber Orchestra and the Peninsula Music Festival, Assistant Principal Bass of the Columbus Symphony Orchestra as well as a member of the Grand Teton Music Festival. John has performed, toured and recorded with many of this country’s leading orchestras and is on the faculty of Capital University. As a chamber musician, John has collaborated with such artists as Joseph Kalichstein, Ronald Leonard, and James Dunham, as well as the Miami String Quartet, MillerPorfiris Duo, and the Apple Hill String Quartet. Other chamber music performances have included concerts at the Roycroft, Sarasota, Aspen, Waterloo, Grand Teton festivals as well as The Ohio State University’s Contemporary Music Festival, the Sunday at Central recital series in Columbus, OH and at the OWU•//•NOW contemporary music festival in Delaware, OH. In 2007 John was named Artistic Director of Music on the Hill, a chamber music festival located in the Ocean State. Before moving to Columbus to become a member of the CSO in 1989, John was a section member of the New Orleans Symphony Orchestra. Prior to joining the NOSO John earned degrees from the Manhattan School of Music and the Juilliard School. Mr. Pellegrino has served on the faculties of Ohio Wesleyan University, the Eastern Music Festival (NC), the Warwick Music Festival (RI), Kinhaven Music Camp (VT) and the Chamber Music Connection in Worthington, Ohio. In 2008, John was the recipient of the Ohio Private/Studio Teacher of the Year award given by the Ohio String Teacher’s Association. His students have won competitions held by the International Society of Bassists, Columbus Symphony Orchestra, Aspen Music Festival, Ohio String Teachers Association, Interlochen Arts Camp and the Philadelphia Orchestra. John was born and raised in Warwick, Rhode Island and owes much to his family of music educators/performers, private teachers, the public-school music program in Warwick and to the Rhode Island Philharmonic Youth Orchestra program under the direction of Nedo Pandolfi.

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Four Strings Katherine McLin, violin Mary Harris, viola Marc Moskovitz, cello John Pellegrino, double bass The Fives // Friday, March 4 // 7:30 PM WOLFGANG AMADEUS MOZART (1756-1791)

Duo for Violin and Viola in G Major, K. 423 I. Allegro II. Adagio III. Rondeau: Allegro

ERROLLYN WALLEN Romeo Turn for Viola, Cello, and Double Bass (b. 1958) I. Moderato II. Allegretto, with bravura III. Adagio IV. Fighting V. Lyrical, with rubato VI. Andante VII. Full-blooded GIOACHINO ROSSINI (1792-1868)

Duetto for Cello and Double Bass in D Major I. Allegro II. Andante molto III. Allegro

Intermission

Intermission lasts 15 minutes ANTON ARENSKY (1861-1906)

Quartet No. 2 in A Minor, Op. 35 for Violin, Viola, and Two Cellos I. Moderato II. Variations on a Theme of Tchaikovsky III. Finale: Andante sostenuto—Allegro moderato

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MARCH 4 About the Music The Jon Mac Anderson Program Notes underwritten by Porter, Wright, Morris and Arthur, LLP

Tonight’s program might also be entitled Four Friends, as it came together out of ProMusica’s principal strings wanting to make music together. Chamber music, of course, offers a special and intimate type of music making, since there is typically only one player to a part, although admittedly, the combination of violin, viola, cello and bass presented some obstacles, since there is nothing composed for that combination! So, to get around that hurdle, we have opted to present you with several compositions in various combinations (and one instrumental substitution). The first composer on our program, W.A. Mozart (17561791) was a huge lover of chamber music and took advantage of such settings whenever the opportunity presented itself. There are stories of his playing quartets with Joseph Haydn, both men reveling in the chance to carry on a dialogue without any words (and both vying to play viola!). Mozart’s G Major Duo, which opens our program, was also born of an act of friendship, though in this case it involved Joseph's brother Michael, a gifted composer in his own right. So the story goes, when Mozart visited Salzburg in 1783, he learned that Michael Haydn had been commissioned to compose a set of violin-viola duos for the Archbishop, an amateur violinist, but Haydn had become too ill to complete the work. So Mozart jumped in, finished off the commission and left his name off the manuscript so that Haydn would get full credit and his remuneration, truly an act of friendship. Though hardly one of Mozart’s more significant chamber works, the Duo does reveal the composer’s love for both instruments and his ability to dash off a not insignificant piece of music even at the last minute. Comprising three movements, the G Major Duo contains many of the hallmarks of Mozart’s style, including effortless and balanced themes, idiomatic writing for both instruments and no small amount of charm. But it also speaks to Haydn’s own abilities, since such a work was passed off as his own without raising the Archbishop’s eyebrows!

The musical portfolio of Belize-born British composer Errollyn Wallen (b. 1958) contains ballets, symphonies, operas and chamber music and a pair of large-scale choral works premiered in London at the 2012 Paralympic Games. In other words, she has contributed to nearly all types of classical genres and as well, has amassed a growing number of awards. The title of her 1999 Trio, Romeo Turn, for Viola, Cello and Bass was sparked by the tarmac at London’s Heathrow airport—looking down from her plane, she saw the words ROMEO TURN (right turn). The seven short movements that would follow were dedicated to her father. Although Wallen composes “traditionally” insofar as she’s not interested in modern effects and relies on standard meters, her music is definitely challenging. You won’t hear any catchy, recognizable, or even singable tunes. Rather, the composer explores rhythm, color, juxtaposition and perhaps most of all, patterns. The first movement, for instance, pits longer phrases in the upper parts with a jaunty pizzicato figure in the bass, while the third movement, following a brief cantabile (singing) opening, focuses on a rocking pattern that eventually draws in all three players. What’s certain is that Wallen puts each player through her/his paces, with rapid exchanges, ever-changing meters and dexterous dialogue equitably undertaken by all three players. Concert goers are generally familiar with the music of Gioachino Rossini (1792-1868) either by way of his operas—and the cartoons such music has spun off, most famously, Warner Brothers’ The Barber of Seville—or his William Tell Overture, whose “Lone Ranger” theme has lost none of its thrill some two centuries later. Rossini’s three movement Cello-Bass Duet sprang from the year 1824. Around this period the composer, having tired of his native Italy, relocated to Paris after stops in Vienna, where he met Beethoven, and England, where he was fawned over by King George, although by this point in his career, Rossini was largely unimpressed with royalty. We can only imagine that the Duo was an occasional piece, perhaps dashed off for an evening of chamber music among friends (like Mozart, Rossini was known to compose effortlessly and easily, so a work of this nature was probably tossed off in a few hours).

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The classical music world is awash in composers who died too young or died tragically (for example, see Arensky, below) but Rossini was unique insofar as having spent the last forty years of his life in retirement, enjoying both the wealth his operas brought him and, judging from the photographs, consuming his share of rich Parisian cuisine. His Duo is an operatic miniature, minus the words, its three movements (fast-slow-fast) capturing the excitement, flowing melodies and driving bass lines that made his stage works all the rage in his day. Russian-born Anton Arensky (1861-1906) was a precocious musical child who by the age of nine already had a number of songs and piano music to his credit. He went on to fulfil what appeared a formidable musical destiny, studying at the St. Petersburg Conservatory with the great Russian master Rimsky-Korsakov and later enjoying a career as pianist, composer, conductor and professor at the Moscow Conservatory. Sadly, Arensky was but 44 years of age when he succumbed to tuberculosis. Although the composer kept his private life private, few knew him as well as his former mentor, Rimsky-Korsakov, who held that it was gambling and drinking that ultimately did Arensky in. Rimsky-Korsakov also held another view: "In his youth, Arensky did not escape some influence from me; later, the influence came from Tchaikovsky. He will quickly be forgotten." Rimsky-Korsakov may have believed that by not pushing music’s limits forward, his student’s posthumous reputation would be compromised. Fortunately, works such as the A minor Quartet have ensured his immortality.

The Quartet opens with a sonata-form first movement, framed by a Russian Orthodox hymn whose resonant tones gain immeasurably by the added lower voice. Arensky counters this with a lyrical second theme though it is the funereal-style hymn that will also close the movement. The second movement is Arensky's true homage to Tchaikovsky. Here he uses the latter’s “Legend” as a source for a set of highly diverse variations, aptly demonstrating a true gift for color, melody and invention. The finale again opens with a hymn but with the incorporation of a Russian folk song—the same song used by Beethoven in his second Razumovsky Quartet, the mood quickly turns celebratory. Indeed, like Beethoven, Arensky also treats the theme contrapuntally, but it is the festive nature of the movement as a whole that brings the entire work to a satisfying and deeply Russian conclusion. © Marc Moskovitz www.marcmoskovitz.com

Tchaikovsky's own dedication to European formal molds and movement types and the sonic atmosphere of his scores had a pronounced effect on the younger man. In fact, perhaps no other work in Arensky oeuvre reflects the degree of indebtedness to Tchaikovsky as does his A minor Quartet. He not only dedicated the work to the late master’s memory, but Arensky’s score often sounds like it could have flowed right from Tchaikovsky’s pen. This is evident from the dark, somber hues of the very opening bars, a color achieved as a consequence of relying on a pair of cellos rather than violins, but it is also Arensky’s use of Russian hymn, Tchaikovsky quotations and folksong that, whether somber or patriotic, result in an unmistakably Russian score.

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MARCH

FEATURED

ARTISTS

Nadine Hur

Donna Conaty

The Dana Navin Schultz Chair

The Lee Shackelford Chair

Flutist Nadine Hur enjoys a remarkable career of great diversity and success as an orchestral performer, chamber musician, and soloist.

Donna Conaty has performed as principal oboe of ProMusica Chamber Orchestra since 1991. Other performance credits include the San Diego Symphony, seven seasons in the Cabrillo Festival of Contemporary Music Orchestra, conducted by Marin Alsop; principal oboe of the Lancaster Festival Orchestra; Artist Fellow in the Bach Aria Festival, NY, NY; Spoleto Festival Orchestra; principal oboe of the Evansville Philharmonic; and principal oboe of the Breckenridge Music Festival Orchestra. A versatile performer, her background ranges from orchestral and chamber ensemble to solo and recital appearances presented throughout the United States and abroad. Her artistic interests are especially oriented toward new works and chamber music.

FLUTE

OBOE

Ms. Hur is currently the Principal Flutist of the ProMusica Chamber Orchestra. As former Principal Flutist of the Knoxville Symphony Orchestra and the Prometheus Chamber Orchestra, she has also appeared as guest Associate Principal Flutist with the Boston Symphony (Tanglewood Music Festival), and with the Minnesota Orchestra. Ms. Hur has performed in numerous prestigious festivals, such as the Mostly Mozart Festival at Lincoln Center, the Bard Music Festival, the Norfolk Chamber Music Festival, the Lincoln Center Outdoors Concert Series, as well as the Embassy Series in Washington D.C., and the Chautauqua Institution. Ms. Hur is a founding member of the Zephyros Woodwind Quintet, the first woodwind quintet to win both the First Prize and the Grand Prize of the Fischoff National Chamber Music Competition. The Zephyros Quintet subsequently toured the United States extensively under MCM Artists Management. Ms. Hur began her solo career as a prize winner of the First Japan Flute Convention Competition at the age of 9, and made her concert debut with the Honolulu Symphony at age 11. In addition to the Knoxville Symphony, she has also appeared as soloist with the Curtis Ensemble, the Korean Broadcast Symphony (National Symphony), and the Seoul Philharmonic. She is a graduate of the Curtis School of Music (Bachelor of Music) and The Juilliard School (Master of Music and Professional Studies), where she studied with Jeffrey Khaner, Julius Baker, and Jeanne Baxtresser. Ms. Hur enjoys teaching young students and many have gone on to further their studies at leading universities and conservatories in the United States. Ms. Hur is in continued demand as a guest Masterclass Presenter and Lecturer. Ms. Hur currently makes her home in St. Louis with her husband David Kim (Assistant Principal Cellist, St. Louis Symphony), and her son, Alexander.

Donna has performed or presented master classes for numerous professional music conferences, international double reed conferences, and university audiences. Many of her oboe students are active as leading performers, university faculty, teachers, and arts professionals throughout the U.S. and abroad. Her leadership background includes serving as a School Director, Interim Dean, and Associate Dean at San Diego State University and Associate Dean of the College of Fine Arts at Ohio University. Donna was a faculty member at Ohio University from 1989-2007 where she had earned the faculty rank of professor and received recognition for outstanding teaching. A Yale graduate, her previous faculty affiliations include the State University of New York at Purchase and University of Evansville. She is an active arts advocate and has served as a board member of the Art of Élan (San Diego), Mainly Mozart Festival, ProMusica Chamber Orchestra, and as a panelist for various arts agencies including the Ohio Arts Council and San Diego Commission on Arts and Culture. Donna and her husband Brig live in San Diego, California where they truly appreciate the temperate weather, gardening twelve months of the year, and no longer owning an ice scraper or snow shovel!

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Ilya Shterenberg

Ellen Connors

The Beth Grimes-Flood & Tom Flood Chair

The Loann W. Crane Chair

Principal clarinetist of the San Antonio Symphony and Principal clarinetist of the ProMusica Chamber Orchestra, Ilya Shterenberg balances a busy career as an orchestral musician, chamber music performer, and a soloist. Hailed by the press as “He possesses that miraculous gift of an innate musical sense…music seemed to flow toward the infinite, as if divinely ordained”, he has been featured soloist with both San Antonio and ProMusica orchestras, performing works by Mozart, Weber, Rossini, Debussy, and Strauss.

Principal bassoonist Ellen Connors has been a member of ProMusica since 2011. In the past she served as Principal Bassoon of the Knoxville Symphony, the Sarasota Opera and the Artosphere Festival Orchestra. Additionally, she has performed extensively with the Baltimore Symphony, the Saint Louis Symphony, the Cincinnati Symphony, the Alabama Symphony and the Grand Rapids Symphony. She has been spending summers in Idaho as a member of the Sun Valley Music Festival since 2011.

He has been featured as Principal clarinetist with Cincinnati and Seattle Symphonies, and has collaborated with such conductors as Roger Norrington, Seiji Ozawa, Dennis Russell Davies, Herbert Blomstedt, Daniel Barenboim, George Solti, Pierre Boulez and others.

A lover of new music, Connors has devoted several summers to the performance of new works in Lucerne, Switzerland, and in 2019 was Principal Bassoon of the Cabrillo Festival of Contemporary Music in Santa Cruz, California.

Away from the orchestras, Ilya is very active as chamber musician, festival performer, and educator. He is a member of Olmos Ensemble, a chamber group made up of principal woodwind players from the San Antonio Symphony. His summer appearances have included the Colorado Music Festival and Britt Festival, as well as the Piccolo Spoleto Festival – USA. As an educator, he has been a faculty member of the College of Charleston, the University of Texas San Antonio, and UT Austin.

Connors completed her undergraduate studies at Rice University, studying with Ben Kamins. While at Rice, she won a prestigious Watson Fellowship and spent the following year studying folk music in China, Mongolia, Laos, Bulgaria and Norway. Connors received her Master of Music degree from the Yale School of Music as a student of Frank Morelli. A Michigan native, Connors resides in Saint Louis with her husband and two young children.

CLARINET

BASSOON

A native of Ukraine, Ilya began his music education at the Kosenko Music College, in Zhitomir, city of his birth. After his immigration to the United States in 1989, he received an Artist Certificate diploma from the Meadows School of the Arts, Southern Methodist University, after which he did further study at DePaul University in Chicago. His principal teachers have included Larry Combs, Stephen Girko, and Charles Neidich. Mr. Shterenberg’s performances have been heard on National Public Radio stations throughout the country as well as Chicago’s WFMT nationwide classical music network. He performs frequently as a recitalist and chamber music artist with Cactus Pear Music Festival, and the North Shore Chamber Music Festival. Ilya is a Buffet Group USA performing artist. 2 0 2 1 - 2 2 S E A S O N | promusicacolumbus.org

Stephanie Blaha

Scott Cuellar

HORN

PIANO

The Todd S. Swatsler Chair Stephanie Blaha was appointed Principal Horn of the ProMusica Chamber Orchestra in 2018. She is also Assistant Principal Horn of the Grant Park Orchestra since 2009, spending her summers in Chicago, IL. She held the position of Third Horn with the Winston-Salem Symphony from 2009-2014 and Fourth Horn with the Rochester Philharmonic Orchestra from 2005-2009. Stephanie has also performed with the Arizona Musicfest Orchestra, The Cleveland Orchestra, Lyric Opera of Chicago, Milwaukee Symphony Orchestra, Charlotte Symphony Orchestra, North Carolina Symphony, and Detroit Symphony Orchestra.

Scott Cuellar has been praised for his ability to ‘‘illuminate both the external structure and the emotional core of the work he plays.’’ He has performed in venues all over the world, from Carnegie Hall’s Weill Recital Hall to Vienna’s Konzerthaus to the Polytheatre Chongqing in China.

Originally from the Chicago area, she is a graduate of Northwestern University, where she was a student of Gail Williams and William Barnewitz. Stephanie lives in Wadsworth, OH with her husband Chris and their daughter Lizzie, where she teaches elementary music in the Wadsworth City Schools.

As a chamber musician, Cuellar has collaborated with esteemed artists including violinists Cho-Liang Lin, Jennifer Koh, CheeYun Kim, and Benjamin Beilman; violist Hsin-Yun Huang; cellists Desmond Hoebig, Jonah Kim and Anthony Ross; clarinetists Mark Nuccio and Ilya Shterenberg; and bass-baritone Timothy Jones. Additionally, he has been a guest at music festivals including La Jolla Music Society’s SummerFest, the Orcas Island Chamber Music Festival, and the Cactus Pear Chamber Music Festival.

He has appeared as soloist with the San Antonio Symphony, the Louisiana Philharmonic, the Rochester Symphony Orchestra, the Shepherd School Symphony Orchestra, the Oberlin Orchestra, the Lima Symphony Orchestra, and others.

Cuellar was the gold medalist at the San Antonio (now Gurwitz) and Virginia Waring international piano competitions, and he won the bronze medal at the New Orleans International Piano Competition. He earned a DMA at Rice University’s Shepherd School of Music, where he studied with Jon Kimura Parker; an MM at the Juilliard School under Julian Martin; and a BM at Oberlin Conservatory, where he studied with Alvin Chow. He now teaches at the Oberlin Conservatory, where he teaches chamber music, among other duties.

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Winds & Piano Nadine Hur, flute Donna Conaty, oboe Ilya Shterenberg, clarinet Stephanie Blaha, horn Ellen Connors, bassoon Scott Cuellar, piano The Fives // Friday, March 11 // 7:30 PM WOLFGANG AMADEUS MOZART Quintet for Piano and Winds in E-Flat Major, K. 452 I. Largo – Allegro moderato (1756-1791) II. Larghetto III. Allegretto FRANZ JOSEPH HAYDN (1732-1809)

London Trio No. 1 in C Major, Hob. IV:1 I. Allegro moderato II. Andante III. Finale: Vivace

Intermission

Intermission lasts 15 minutes MIGUEL DEL ÁGUILA

"Back in Time" from Quintet No. 2

(b. 1957)

LUDWIG THUILLE Sextet for Piano and Wind Quintet, Op. 6 I. Allegro moderato (1861-1907) II. Larghetto III. Gavotte: Andante, quasi Allegretto IV. Finale: Vivace

Chamber Music at The Fives is underwritten by an Anonymous Donor. Additional support from: 2 0 2 1 - 2 2 S E A S O N | promusicacolumbus.org

MARCH 11 About the Music The Jon Mac Anderson Program Notes underwritten by Porter, Wright, Morris and Arthur, LLP

Wolfgang Amadeus Mozart (1756-1791): Quintet for Piano and Winds in E-Flat Major, K. 452 Between the years 1777-1781 Wolfgang Amadeus Mozart was, for all intents and purposes, an itinerant musician. Having tired of provincial Salzburg and certainly in the attempt to put some distance between himself and his overbearing violinist-father, Mozart hit the road with his mother, hoping to find a professional post and composing prodigiously along the way (Munich, Paris and so on). By 1782, his mother now dead and his ties cut with Salzburg, Mozart settled in Vienna, where he married and hung out his shingle, carving out a living as a composer, teacher and performing pianist. This is what his life looked like when, on April 1, 1784, he played piano at the premiere of his freshly composed Quintet for Piano and Winds. Mozart had only completed the work a day or so earlier, so he was evidently working right up against the deadline of the performance, but given that neither he nor anyone else had ever composed for this combination of instruments, we are still left shaking our heads about the circumstances. Had he been commissioned? Was he playing a concert of his own works for his own benefit? What we know is that a few days later he wrote to his father, “I consider it the best thing I have ever written. I wish you could have heard it and heard how beautifully it was performed. Honestly, by the end I had grown tired from all the playing but to my credit, my audience did not share my fatigue at all.” It’s an amazing statement, given his portfolio to date, which, among hundreds of other works included all but the final symphonies, operas, chamber music, choral works and the rest! With a quartet of winds and piano Mozart faced an issue he didn’t have to confront when composing for strings: sustained lines. To skirt this problem, he opted for short ideas and these he passes around the group with abandon. To his credit, this is no “mere” piano concerto with wind accompaniment—from the grand introduction to the charming rondo finale (arguably

the stand-out movement), he gives each instrument its due… and to be sure, he loved them all, as evidenced by the fact that he wrote at least one concerto for every instrument involved (not to mention some 27 for the keyboard). Following the introduction, the sonata-form first movement, Allegro moderato, unfolds at a stately pace. The slow movement (Larghetto) is a rather extended affair, but Mozart keeps the motion moving forward with a fleeting 32nd note gesture that grows from the opening idea (played by the oboe and bassoon). But the finale is the real treat and if you’re familiar with Mozart’s music, you’ll find yourself somewhere between a concerto and an opera and loving every bar!

Joseph Haydn (1732-1809): London Trio No. 1 in C Major, Hob. IV:1 In 1790, after having spent decades in the service of the princely Esterházy family in the Hungarian countryside, his employer died, and Joseph Haydn suddenly found himself able to write what he wanted and travel where he wanted. Fortuitously, that fall a German-born but violinist and impresario by the name of Johann Salomon showed up at Haydn’s door—"I am Salomon from London and I have come to fetch you!”—and induced the famous composer to join him in London, where Salomon was playing an active role in the capital’s bustling musical life. For Haydn, the better part of whose life had been spent composing for nobility, writing for the public was an offer he couldn’t refuse. Haydn actually made two trips to London, in 1791 and again three years later and it was during the second trip that his three so-called “London Trios” were born. On November 14, 1794, Haydn wrote in his diary, "I went with Lord Abingdon to Preston, 26 miles from London, to visit the Baron of Aston—he and his wife both love music...." As a gift to his hosts, Haydn brought along some unusual divertimentos—that is, light music for entertainment or diversions, scored unusually for two flutes and cello. We can assume, therefore, that one or both his hosts played flute, cello or both, and Haydn, always the gentleman, was doing his Austrian best to ingratiate himself with his new English friends. The first of the set, in C major, falls into the traditional

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fast-slow-fast pattern (in this case Allegro moderato, Andante, Vivace). As one might expect, the pair of flutes are given dominance, with the cello assigned a relative subservient accompanimental role. Though hardly the sophisticated music that he was delivering to London audiences in the form of symphonies, the trios are nevertheless charming works that provide evidence both of Haydn’s humor and general musical command. In fact, Haydn was deeply enough occupied with this trio’s composition as to have composed an alternate Andante, though it’s not known which he preferred.

Miguel del Águila (b. 1957): “Back in Time” from Quintet No. 2 Miguel del Águila’s musical roots are deeply embedded in the driving rhythms and melodic flair of his native South America. Nominated for three Latin Grammys, the Uraguayan’s music is actively programmed by orchestras and ensembles from Lancaster to Kiev. His Woodwind Quintet No. 2 was written in 1994 and was awarded a Kennedy Center Friedheim Award for excellence in chamber music composition the following year. According to the composer, the work’s first movement, “Back in Time,” has a primitive, ritualistic character. The flute, accompanied by chant, plays a simple, modal theme. The simple musical structure and melodic material are retained as the movement progresses.” The six-minute movement, then, opens with flute, as the other performers hum along in unison. The simplicity of the opening is, however, rather deceptive, for the music truly blossoms with the entrance of the other instruments. Aguila’s language is a bit Copland-eque in its open intervals and spaciousness and given the singing demands he makes on his performers, it may just well be the most demanding music you’ll hear tonight!

Ludwig Thuille (1861-1907): Sextet for Piano and Wind Quintet, Op. 6

meeting Richard Strauss in Innsbruck, he made his way to Munich, to study with one of the day’s musical giants, Joseph Rheinberger. Thuille’s early claim to fame came by way of opera, a work that garnered its composer the prestigious first prize in a Bavarian competition held in 1897, a year when another young Austrian—and the subject of a biography by yours truly!—Alexander von Zemlinsky, came in second. Besides the opera, evidently, Thuille had something else Zemlinsky severely lacked—stunningly good looks, to judge by his photograph, and a fantastic mustache to boot but despite a rather prolific output, Thuille’s music has largely faded from the repertoire. This fact is at least partially attributable to his early death at age of 45 from heart failure. In contrast to most of his oeuvre, Thuille’s B-flat Sextet for Piano and Winds has maintained a toehold in the wind repertoire and for good reason. Besides its indebtedness to both Rheinberger and Strauss, who also acted as significant influence on the conservative composer and both of whom excelled at wind writing, Thuille’s sextet is a truly majestic piece of music. The work opens with a noble horn call over a rippling piano bass line, setting the heroic tone for the Allegro moderato. It is a romantic movement in the truest sense of the word, with the unfolding of gracious themes and rich, lush instrumentation. The horn again introduces the Larghetto, its call perhaps inspired by the pastoral Tyrolean landscape of the composer’s youth, and which is eventually juxtaposed by an upright theme underscored by a punctuated accompaniment. Still, the movement’s overall atmosphere remains one of grandeur. The charming and jaunty Gavotte, marked Andantequasi Allegretto, again suggests the air of the Tyrolean countryside, though in this case the character is that of a peasant dance. The lively Vivace finale sparkles with verve and the sophisticated working out of ideas, leaving us in joyous spirits and in deep appreciation of a master of his craft.

Listening to the music of Ludwig Thuille, one wonders why his name is among those all-but-forgotten composers of the late Romantic era. Born in the Tyrolean town of Bolzan, now Bolzano in Italy, the youth demonstrated a precocious musical talent, excelling in voice, violin, piano and organ. Bozen, however, had little to offer the burgeoning musician and after 2 0 2 1 - 2 2 S E A S O N | promusicacolumbus.org

Meet the Musicians

Katherine McLin

concertmaster, 22 years The Donald G. Dunn Chair Current Residence: Phoenix, AZ

Amy Cave*

violin, 7 years The Randy & Marilyn Miller Chair Current Residence: Cleveland, OH

Solomon Liang

violin, 3 years The Laurie & Thomas W. Hill Chair Current Residence: Columbus, OH

Rebecca Willie

Jennifer Ross

assistant concertmaster, 7 years The Joan M. Herbers Chair Current Residence: Greensboro, NC

principal second, 4 years The Brachman Smith Family Chair Current Residence: Jackson, WY

Eric Kline

Heather Kufchak

violin, 10 years The Jim & Ida Copenhaver Ginter Chair Current Residence: Pickerington, OH

William Manley

violin, 16 years The Fran Luckoff Chair Current Residence: Columbus, OH

violin, 11 years The Deborah Raita Chair Current Residence: Dallas, TX

Victoria Moreira

violin, 7 years The Dyann & E. Joel Wesp Chair Current Residence: Chicago, IL

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

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violin, 4 years The Elizabeth Williams Chair Current Residence: Columbus, OH

Mary Harris

principal viola, 26 years The Margaret & Jerome Cunningham Chair Current Residence: Oxford, OH

Marc Moskovitz

Brett Allen

viola, 11 years The Keith F. and Katherine B. Dufrane Trust Chair Current Residence: Columbus, OH

Cora Kuyvenhoven

principal cello, 27 years The Barbara Trueman Chair Current Residence: Durham, NC

cello, 21 years The Bob & Mary Frances Restrepo Chair Current Residence: Columbus, OH

John Pellegrino

Patrick Bilanchone

principal double bass, 10 years The John F. Brownley Chair Current Residence: Columbus, OH

Donna Conaty

principal oboe, 32 years The Lee Shackelford Chair Current Residence: San Diego, CA

double bass, 5 years The Kathryn D. Sullivan Chair Current Residence: Jacksonville, FL

Jessica Smithorn

Stephen Goist

Michael Isaac Strauss

viola, 7 years The Regie & David Powell Chair Current Residence: New York, NY

viola, 6 years The Anne Powell Riley Chair Current Residence: Oberlin, OH

Nat Chaitkin

Joel Becktell

cello, 14 years The William K. Laidlaw Chair Current Residence: Cincinnati, OH

Nadine Hur

principal flute, 1 year The Dana Navin Schultz Chair Current Residence: St. Louis, MO

Ilya Shterenberg

oboe, 3 years principal clarinet, 4 years The Artie & Alisa Isaac Chair The Beth Grimes-Flood & Tom Flood Chair 2 0 2 1 - 2 2 S E A S O N | promusicacolumbus.org Current Residence: Cincinnati, OH Current Residence: San Antonio, TX

cello, 13 years The Donna K. Laidlaw Chair Current Residence: Albuquerque, NM

Anthony Trionfo+

flute, 1 year The Miriam & Bernard Yenkin Chair Current Residence: Worthington, OH

Jennifer Magistrelli

clarinet, 10 years The Jack & Betsy Farrar Chair Current Residence: Richfield, OH

Ellen Connors

Rachael Young

principal bassoon, 11 years The Loann W. Crane Chair Current Residence: St. Louis, MO

bassoon, 6 years The Carolyn Merry & Bob Redfield Chair Current Residence: Cincinnati, OH

Meghan Guegold+

Timothy Leasure*

horn, 1 year The Denise & Barry Blank Chair Current Residence: Jamesville, NY

Rajesh Prasad

percussion, 8 years The Bob Redfield & Mary Yerina Chair Current Residence: Raleigh, NC

trumpet, 18 years The William & Wendy Faust Chair Current Residence: Pickerington, OH

Jeanne Norton

principal harp, 42 years The Sustaining Board Chair Current Residence: Columbus, OH

+ one-year appointment * on leave for the 2021-22 season

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Stephanie Blaha

principal horn, 4 years The Todd S. Swatsler Chair Current Residence: Wadsworth, OH

Renee Keller

principal timpani and percussion, 8 years The Michael & Jody Croley Jones Chair Current Residence: Lima, OH

Aya Hamada

principal harpsichord/keyboard, 17 years The ProMusica Board Chair in memory of Ida Copenhaver Current Residence: New York, NY

2020-2021 Annual Fund Contributors ProMusica Chamber Orchestra is grateful to the following donors who support our efforts to deliver a world-class and unique classical music experience. We invite you to join our circle of supporters online at promusicacolumbus.org, or by calling ProMusica’s Development Office at 614.464.0066 ext. 104. MAESTROS $10,000 AND ABOVE Gifts from Individuals George Barrett The Crowley Family Charitable Fund Margaret and Jerome Cunningham Donald G. Dunn Ida Copenhaver and Jim Ginter Joan Herbers Kathryn Sullivan Todd Swatsler Barbara Trueman Miriam and Bernie Yenkin Anonymous Support from Corporations, Foundations & Public Agency Funds American Electric Power Cardinal Health Foundation Kenneth L. Coe and Jack Barrow Fund of The Columbus Foundation The COR Group of UBS Financial Services The Crane Family Foundation DGD Group E. Nakamichi Foundation The Fox Foundation Greater Columbus Arts Council Nationwide Ohio Arts Council ProMusica Sustaining Board The Reinberger Foundation The Shackelford Family Fund of The Columbus Foundation The Siemer Family Foundation

ENCORE $5,000 - $9,999 Gifts from Individuals Deborah Anderson Lavea Brachman and Andrew O. Smith Lauren Bonfield and Stephen Keyes John F. Brownley Loann Crane The Michael and Paige Crane Fund of The Columbus Foundation Keith Dufrane Betsy and Jack Farrar Beth Grimes-Flood and Tom Flood Jody Croley Jones and Mike Jones Suzanne Karpus Donna Laidlaw Renee K. and George M. Levine Fund of The Columbus Foundation Helen Liebman and Tom Battenberg Nancy Marzella Regie and David Powell The Quintenz Family Mary Yerina and Bob Redfield Mary Frances and Bob Restrepo Anne Powell Riley Dana Navin Schultz and Hugh Schultz Support from Corporations, Foundations & Public Agency Funds CoverMyMeds Fifth Third Bank Ann and Gordon Getty Foundation Ingram-White Castle Foundation KeyBank The Hattie and Robert Lazarus Fund of The Columbus Foundation PNC Vorys, Sater, Seymour and Pease LLP

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SYMPHONY $3,000 - $4,999 Gifts from Individuals Barry Blank Lynn and Paul Blower David Danzmayr Wendy and Bill Faust Anne and Matthew Fornshell Dr. Dara and Mark Gillis Laurie and Thomas Hill The Mary and Robert Lazarus Fund of The Columbus Foundation Fran Luckoff McGinnis Family Fund of The Columbus Foundation Marilyn and Randy Miller Deborah Raita Dyann and Joel Wesp Elizabeth Williams Becky Wright Anonymous SPECIAL GIFTS In Memory of Pamela Romeo Elliott James Elliott In Honor of Pat Garavito Cardinal Health

CONCERTO $2,000 - $2,999 Gifts from Individuals Henry W. & Martha L. Bruner Philanthropic Fund at the Community Foundation of Greater Buffalo Steve and Mary Burkey Peter and Jayne Wenner Costanza DiMarco Family Fund of The Columbus Foundation Lynn Elliott Pat and Darla Garavito Doug and Monica Kridler Drs. Bill Mitchell and Wayne Lawson David Schooler Sallie J. Sherman Anonymous

Bill Miller and Clara Lee Annegreth T. Nill and Bruce C. Posey Ruth Paulson Julie and Bob Rutter Ed and Lori Sarkel Lynda and Doug Schockman Ann and Doug Teske Gail Walter and Allen Proctor Anonymous

Support from Corporations & Foundations English Family Foundation Puffin Foundation West Anonymous

SPECIAL GIFTS In Honor of Julia G. Blair Anonymous

In Memory of Frances Lazarus Peggy Lazarus RHAPSODY $1,000 - $1,999 Gifts from Individuals Julia and Milt Baughman Sally and Roger Baughman Evelyn Behm Ellen Bowden Catherine and John Brody Trish and John Cadwallader David and Annjia Chan Julie and Bob Connors Mark and Mindy Corna Patt and Chuck DeRousie The G. Britton & Carol Durell Family Fund of The Columbus Foundation The David and Anne Durell Family Foundation of The Columbus Foundation Dona Fling Mary Jo Green Linda and Bill Habig Steven Hillyer Pam Hussen and Patrick Vincent Patricia and Brent Jackson Elliott S. Luckoff Susan and Bill McDonough

Support from Corporations & Foundations The Columbus Foundation – Better Together Fund First Commonwealth Bank Kegler, Brown, Hill + Ritter Taft Stettinius & Hollister LLP Yenkin-Majestic Industries

In Memory of George Corey Georgeann Corey In Memory of Allene N. Gilman The Allene N. Gilman Charitable Trust SONATA $500 - $999 Gifts from Individuals Peggy Alexander Robert Allen Pamela and John Beeler Earl Busenburg Robert Byrd Pat Cash Isaacson and Jack Isaacson Kevin Duffy Cornelia Ferguson Judy Garel Sherri Geldin Barbara and Gary Giller Patricia Hadler Brian, Sarah, and Danielle Hall Herbert and Melissa Hedden Adam and Rebbie Hill Brandy and Joshua Hill The Josenhans Family Fund of The Columbus Foundation Jeff Kipnis Joyce and Willem Kogeler Ruth Lantz Susan and Douglas Levin 2 0 2 1 - 2 2 S E A S O N | promusicacolumbus.org

The Lewin Family/Hamilton Parker Foundation Benjamin Martin Mary Pat Martin and Rick Livingston Susan Meiling Larry and Peg Neal Gerald and Ann Newsom Angela and John Petro The Pink Witches Sue Porter and Mike Sayre Harry Pukay-Martin Judith and Richard H. Reuning Cordelia Robinson Patrick Ross Elizabeth Sawyers Nancy Strause Thomas Szykowny and Susan Dutton Nancy and Ray Traub Mary and Willian Vorys Lillian and Francis Webb Anonymous SPECIAL GIFTS In Memory of Carolyn and John Nolan Susan and Barry Lubow In Memory of Alfred B. Strickler The Strickler Family Fund of The Columbus Foundation OVERTURE $250 - $499 Gifts from Individuals Diane and Ted Armbruster George and Vanessa Arnold Jean Atwood and Michael Kirkman Marjorie Bagley Frank Birinyi Constance Bodiker Henry Brecher Yvonne and Richard Burry Todd Clark Jill and Ron Dean Harriet and Scott Donaldson Laura and Pat Ecklar Maureen Mugavin and Michael Fiske Joan Foley Mabel Freeman Jerome Friedman Barbara Glover Michelle Gubola and Lee Fredette William C. Heck Fern Hunt Sarah Irvin Clark Ira and Debby Kane

Matthew Kurk and Nicole Kessler Bill and Sarah Lange Katherine and Yung-Chen Lu Gerald Maloney Jane McMaster Kirk and Christine Merritt Judy Michaelson The Dixie Sayre Miller Fund of The Columbus Foundation Laura Moorman Karen and Neil Moss Panzer-Heitmeyer Fund of The Columbus Foundation Kara and Jeff Reinhardt Linda Roomann and William Slutz Lenore Schottenstein Maureen and Bill Severns Anne Skaggs Carl Smallwood Colleen Nissl and Roger Sugarman The Yaffe/Stump Family Foundation of The Columbus Foundation Leslie Yenkin and Jonathan M. Petuchowski Anonymous SPECIAL GIFTS In Honor of Lavea Brachman Judith and Merom Brachman PRELUDE $100 - $249 Gifts from Individuals Mary Ann and Mike Abrams Jane and Stan Ackley Julia Armstrong Todd Bailey Rebecca Roeder and Steve Bigley Fran Blachman Leonard Black Michael Bongiorno Penny Masters Boes Ann Brace and Lawrence Herman Herbert Bresler Anthony Brown and Susan Oppenheimer Susan Brown Michael Burton David and Lucy Buzzee Carol Chaitkin Janet Chen and Rick Buchanan Kristy Clay Bonita Covel Mary Cowles

Daniel and Christina Crane Mike and Susan Davala Betsy and Nick DeFusco Dr. John DeSando Doug Dillion Lindsey and Kevin Dunleavy Virginia and Wade Duym Erik and Annabel Edwards Jennifer and Arthur Farkas Amy Ferketich Kaeleigh Farrish Amy Thompson and Stephen Fechtor Toba Feldman George and Pat Fichter Gary Flach Linda Fowler Ben and Karen Freudenreich Bruce Garfield and Beth Jackson Tom and Kim Gattis Laura and Eric Geil Nick and Debbie Geldis Carole and Nelson Genshaft Jack and Joan George Blake Getson and Linda Fedak Katie and Jake Gibson Bill Goodyear and David Riggs William Gresham Bryan Hartzler Scott and Elicia Henderson Vincent and Gayle Herried Martin Hibbard Carol and Fred Hofer Brian Houts Harriet Hudson Kay Huebner Susanne Jaffe Deborah and Douglas King Gale and Steve Klayman Jason and Morgan Knapp Sharon Kokot Garth and Diane Kriewall Christine Kullberg and Meri Brace Katie Kuvin Eileen Lee and Raymond Hsieh Syd Lifshin Philip Lortz Andrew and Ayumi Lower Laura MacDonald Mary Frances Macioce Lisa and Michael Maggard Margaret Malone Carol McGuire Al and Mina Mokhtari Don and Marianne Mottley 2 0 2 1 - 2 2 S E A S O N | promusicacolumbus.org

Kathryn Murnane Marilyn and Robert Nims Carolyn Patterson John Pellegrino Vicki Powelson Mr. and Mrs. Seth Reichenbach Bryant and Sandra Riley Al Ross Judy Ross Jean Rudin Lauren Sadataki Lucas Schrader and Liz Jaggers Gary and Ellen Schwarzmueller Frank Scipione Chris and Jane Scott Marquell and Edward Segelken Daniel and Jennifer Shively Stacie and Mark Sholl Amina Smajlovic Marilyn R. Smith Rose Sobel Brittany Lockman Ginny Stein and Michael Lockman Elizabeth Tracy Sharon Sachs and Donn Vickers Charles and Betsy Warner Margaret and William Wells Jonathan Wentz Bernice and Chuck White Patricia M. Wiedner Margie and Thomas Williams Christopher Wilson Women's Club of Powell Anonymous SPECIAL GIFTS In Honor of Kathryn Sullivan Randi and Russ Carnahan In Honor of Abigail Louise Wells Martha Lentz This list includes contributions of $100+ made to ProMusica for the period of July 1, 2020 to June 30, 2021. 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.

Gifts to the Maestro’s Challenge We thank the following donors who joined Music Director David Danzmayr in support of the Maestro’s Challenge during our 42nd season. We are grateful for this support, which enables us to remain resilient, so that we can emerge stronger – infusing this community with our music. Mary Ann and Mike Abrams Deborah Anderson George and Vanessa Arnold Marjorie Bagley George Barrett Sally and Roger Baughman Frank Birinyi and Chriss Mascaro Kathleen Boston John F. Brownley Yvonne and Richard Burry David and Lucy Buzzee Trish and John Cadwallader Donna Cavell Annjia Hsu and David Chan Todd Clark Julie and Bob Connors Georgeann Corey Mindy and Mark Corna Barbi Crabill David Danzmayr Mike and Susan Davala Dr. John DeSando Jessica DiCerbo Harriet and Scott Donaldson Laura and Pat Ecklar Jim Elliott and John Behal Lynn Elliott Beverley Ervine and Boyce Lancaster Betsy and Jack Farrar Bill and Wendy Faust Gary Flach Anne and Matthew Fornshell Terri Jones-Forte and Jade Forte Mabel Freeman Pat and Darla Garavito Debbie and Nick Geldis Jim Ginter Jane Davis Gladwin Bill Goodyear and David Riggs Michelle Gubola and Lee Fredette Patricia Hadler

Mike and Harriet Hadra Brian, Sarah & Danielle Hall Laurie and Tom Hill Steven Hillyer Barbara Hunt Jody Croley Jones and Mike Jones Ann R. Joyce Ira and Debby Kane Lauren Bonfield and Stephen Keyes Deborah and Douglas King Douglas Klamfoth Morgan and Jason Knapp Joyce and Willem Kogeler Ann K. Laudeman Mary Lazarus Helen Liebman and Tom Battenberg Syd Lifshin Laura MacDonald Daniel and Ruth Martin Nancy Marzella Marybeth McDonald Susan and Bill McDonough Mark Miller Laura Moorman Margo Olson Carolyn Patterson Ruth Paulson Regie and David Powell Susan and Ken Quintenz Deborah Raita Bob Redfield and Mary Yerina Judith and Richard Reuning Ruth Robinson Stephen Bigley and Rebecca Roeder Jean Rudin Julie and Bob Rutter Lauren Sadataki Lyle Saylor Gary and Beth Schwarzmueller Frank Scipione Bill and Maureen Severns

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Lee Shackelford Carl and Connie Smallwood Lynda and Stuart Smith Rose and Ron Solomon Jennifer Sonnenberg Kathryn Sullivan Robert and Suzy Swanson Todd Swatsler Thomas Szykowny and Susan Dutton Lillian and Francis Webb Bernice and Chuck White Patricia M. Wiedner Eric and Rebecca Willie Maria Elena Wolf Becky Wright Yenkin-Majestic Industries Miriam and Bernie Yenkin John and Sherry Young Anonymous

Gifts to the Endowment Fund Gifts contributed to the ProMusica Endowment Fund provide a lasting financial foundation for the future of our orchestra. ProMusica Chamber Orchestra deeply appreciates the following gifts received during the 2020-2021 giving year (July 1, 2020– June 30, 2021). In Memory of Christine Carter C. Alan Carter In Honor of Janet Chen Katherine Borst Jones In Memory of Ida Copenhaver Ginter Jim Ginter

In Memory of Margaret Fiske Maureen Mugavin and Michael Fiske In Honor of Katelyn French Elliott Valentine

In Memory of Susan Horst Cratty Mabel Freeman

In Honor of Dr. Wayne Lawson's lifelong commitment to facilitating the arts in Columbus and the State of Ohio William Mitchell

In Memory of Jerrie Cribb Elliott Bush

In Honor of Peggy Lazarus Barbara and David S. Brandt

In Honor of Jill DeVore Elise Berlan

In Honor of Katherine McLin Diane McLin

In Memory of Louis DeVries Patricia Gold

In Honor of Kathleen Murphy Adam Wagenbach

In Honor of Donald Dunn’s 98th Birthday Julia and Milton Baughman Lynn Elliott Jim Ginter Paul Werth Associates, Inc. Suzanne Karpus Peggy Lazarus Mary Lazarus Cordelia Robinson Lane & John Rothschild David Schooler Elizabeth Williams

In Honor of Cordelia Robinson Wayne Lawson and Bill Mitchell In Memory of Sammy Julia Armstrong James and Nancy Buchanan Anonymous In Memory of Beth Navin Mr. and Mrs. David H. Swanson, Jr. In Memory of Dana Navin Schultz George and Suzanne Apostolos Cindy and John Deliman Patt and Chuck DeRousie Harriet and Scott Donaldson Carol and Michael Dove

Steven Hillyer Wayne and Miriam Irwin Diana Jones John Jones Gavin and Alice Larrimer Lisa and Michael Maggard Domenick Mancini Deborah and Gordon Moskal Hugh Schultz Emily Prieto David and Dorothy Pritchard ProMusica Sustaining Board Mary Yerina and Bob Redfield Stephanie and Grant Stephenson Mr. and Mrs. David H. Swanson, Jr. Mr. and Mrs. Thomas Tripp Dyann and Joel Wesp Anonymous In Memory of Marilyn Paulsen Derek Paulsen Gaige Paulsen In Honor of Susan Quintenz Erie Chapman Foundation, Nashville, Tennessee In Memory of Pat Ronsheim Debbi Burns Laurie MacKenzie Crane Joyce Fasone Mary Beth Hirsch Judi Moseley Sally Sayre Miriam Skapik Maddy Weisz

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In Memory of Tydvil Thomas Patt and Chuck DeRousie Harriet and Scott Donaldson Lisa and Michael Maggard David and Dorothy Pritchard ProMusica Sustaining Board Dyann and Joel Wesp In Honor of Koko Watanabe Elizabeth Williams In Memory of Andrea Wobst-Jeney Bob and Diane Barton Michael and Paige Crane Donald G. Dunn Beth Grimes-Flood and Tom Flood National Electric Coil/Rail Products International Cordelia Robinson In Honor of Linda Woggon Julie and James Henahan

For more information on making a perpetual gift to the ProMusica Endowment Fund, please contact the ProMusica Development Office at 614.464.0066 ext. 104.

Play Us Forward Donors ProMusica thanks the following who have generously donated an instrument or contributed to help fund our “Play Us Forward” outreach program. Support for “Play Us Forward” helps provide musical instruments, instruction, and enrichment activities to middle-schoolers at no cost to students or their families. If you wish to participate to ensure the program’s sustainability, please visit promusicacolumbus.org or contact 614.464.0066 for more information. Thank you for making musical opportunities possible for the youth in our community! Contributions listed were received for the 2020-2021 school year.

INDIVIDUALS Jennifer Annon Chris Bartlett Julia and Milt Baughman Robert Byrd Darlene Foust Carolyn Gifford Katherine E. Hancock Steven Hillyer Caryn Knott Hanci Newberry Anna Maddox Karen Koger Ann Kriewall Tim Maghie Angie Schafrath Stephanie Spence Connie Willis

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

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Jones Day proudly supports ProMusica Chamber Orchestra and its commitment to world-renowned classical music experiences. Why Jones Day? Binding energy, conviction, and credibility arising from shared professional values. 2500 LAWYERS. 43 LOCATIONS. 5 CONTINENTS. ONE FIRM WORLDWIDE.® JONESDAY.COM

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

Questions? Contact us at 614/251-4000 or giving@columbusfoundation.org.

columbusfoundation.org

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

Supporting and advancing the arts and cultural fabric of Columbus.

GCAC.org

Design: Formation Studio

Borrowing techniques and subject matter from graffiti, ancient mythology, and abstract painting, Adam Hernandez likes to describe his art as a kind of “ghetto hieroglyphics.” He is inspired by both the support and the friendly competition he finds in Columbus. “I think competition forces artists to keep pushing their boundaries and in turn some really rad art gets created.”

Photo: Chris Casella

I AM ADAM HERNANDEZ. PAINTING IS MY ART.

Four Columbus Area Locations

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

◆

800- D RU RY IN N

To new heights & new memories Hilton Columbus Downtown sits in the heart of the Short North Arts District, walking distance from hundreds of restaurants, bars, boutiques and entertainment venues. In fall 2022, the hotel will unveil its newest addition, a 28-story tower offering 4 new food & beverage outlets and breathtaking views of the city. Relax, unwind, and make new memories at Hilton Columbus Downtown.

Hilton Columbus Downtown is a proud supporter of ProMusica Chamber Orchestra! 401 N. High Street, Columbus OH 43215 hiltoncolumbusdowntown.com

Porter Wright is proud to support ProMusica Chamber Orchestra’s dedication to a world-class and unique classical music experience. Congratulations on another successful season!

SEASON SUPPORT

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 614.464.0066 • www.promusicacolumbus.org