ProMusica | January - May 2024 Program Book by ProMusica Chamber Orchestra

PROGRAM BOOK

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

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

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CEO Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Music Director Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Creative Partner & Principal Guest Artist Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Important Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Boards and Administration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1 Virtuosic Violin Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Program. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 0 The Italian Sun Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 6 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 7 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 8 Vadim Gluzman Plays Tchaikovsky Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 6 Meet the Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Financial Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 5

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

Program Design:

Orchestra & Musician photos:

Tom Battenberg & Helen Liebman Chair

Chief Executive Officer Welcome to our 45th season!

This year we journey from Austria to America, to Rome and the Italian sun. Beloved symphonies mix with the unexplored. The orchestra uncovers new and diverse works by composers Carlos Simon and Julia Perry; and Composer/Performer Andy Akiho joins us performing his Concerto for Steel Pan and Orchestra. Our popular NAKED CLASSICS continues, hosted by our longtime friend Paul Rissmann. Rising stars Simone Porter and fifteenyear-old Fiona Khuong-Huu make their debut with ProMusica, and we will collaborate with several of the great virtuosos on the Southern Theatre stage, including Garrick Ohlsson and Johannes Moser. The season culminates with our artistic leaders David and Vadim together onstage – reunited to present Tchaikovsky’s Violin Concerto on Vadim’s “ex-Leopold Auer” Stradivari, for which the concerto was composed. Brahms’ cheerful Symphony No. 2 in May is the perfect grand finale – radiating energy, joy, and optimism for what’s to come for this special orchestra. Our 2023-24 season also marks a decade of music-making with our Music Director David Danzmayr and Creative Partner Vadim Gluzman. For ten years, these two passionate and fearless visionaries have moved and inspired us to dream big about what is possible. And together, with you – we will continue to dream – as we look to our very exciting future! Thank you for sharing your evening with us. We hope you will join us all season long to experience the musical magic of ProMusica. Sincerely,

Janet Chen Chief Executive Officer

Born in America and raised in Taiwan, Janet Chen has led an active and diverse career as a performing musician, arts administrator, and music educator. A classically trained flutist, Janet made the switch to arts management serving as ProMusica’s Operations and Education Manager and now as CEO. Under her tenure, ProMusica has doubled its annual operating budget — establishing new artistic programs and outreach collaborations, including its free outdoor Summer Music Series concerts; its “Play Us Forward” initiative putting instruments and music instruction into the hands of underserved students; and commissioning America’s living composers with 68 new works created to-date. In close partnership with the orchestra’s artistic leadership, the orchestra has achieved national and international acclaim as one of the top chamber orchestras of today. Janet has been recognized as a YWCA Columbus Woman of Achievement and honored by Business First as one of the “Most Admired Executives in Central Ohio.” Most recently, she was a finalist for “CEO of the Year” in the small non-profit category by Columbus CEO. She was selected as a 2021 honoree by the Women for Economic and Leadership Development (WELD). In 2018, she was one of ten members representing Columbus at the Young American Leaders Program at the Harvard Business School. Janet serves on the Boards of Creative Ohio and Experience Columbus and is a member of the Columbus Cultural Leadership Consortium. Janet holds a bachelor's degree from the Oberlin Conservatory of Music, and a master's degree in flute performance from the University of Cincinnati College-Conservatory of Music. Prior to joining ProMusica, she was a member of the Taipei Symphony Orchestra in Taipei, Taiwan, and spent two summers as a flute instructor at the Interlochen Center for the Arts in Michigan.

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Photo: Shellee Fisher Photography & Design for WELD

From the

Championing Art Advancing Culture Celebrating Expression Fostering Talent Promoting Community Advocating Collaboration GCAC.org

CELEBRATING 50 YEARS

Photo: Rick Buchanan Photography

The Elizabeth M. Ross Music Director

David Danzmayr

Described by The Herald as “extremely good, concise, clear, incisive and expressive,” David Danzmayr is widely regarded as one of the most exciting European conductors of his generation. Danzmayr is in his second season as Music Director of the Oregon Symphony, having started his tenure there in the orchestra’s 125th anniversary season. He also stands at the helm of the versatile ProMusica Chamber Orchestra of Columbus, Ohio, an innovative orchestra comprised of musicians from all over the United States. In addition, he holds the title of Honorary Conductor of the Zagreb Philharmonic Orchestra. He served as the group’s Chief Conductor, leading the Zagreb musicians on several European tours and in concerts at Salzburg Festival Hall, where they performed the prestigious New Year’s concert, and the Vienna Musikverein. David has won prizes at some of the world’s most prestigious conducting competitions including the International Gustav Mahler Conducting Competition and the International Malko Conducting Competition. In recognition of his successes, he has been awarded the Bernhard Paumgartner Medal by the Internationale Stiftung Mozarteum.

Propelled into a far-reaching international career, Danzmayr has quickly become a sought-after guest conductor. He has worked throughout the United States with the symphonies of Cincinnati, Minnesota, St. Louis, Seattle, Baltimore, Atlanta, Indianapolis, Detroit, North Carolina, San Diego, Colorado, Utah, Milwaukee, New Jersey, the Pacific Symphony, Chicago Civic Orchestra, Houston Symphony, and Grant Park Music Festival. In Europe, David has led the Deutsche Kammerphilharmonie Bremen, City of Birmingham Symphony Orchestra, Bamberger Symphoniker, Sinfonieorchester Basel, Mozarteum Orchester, Essener Philharmoniker, Hamburger Symphoniker, Iceland Symphony Orchestra, Odense Symphony, Salzburg Chamber Philharmonic, Bruckner Orchester Linz, and the Radio Symphony Orchestras of Vienna and Stuttgart. He has served as Assistant Conductor of the Royal Scottish National Orchestra, performing in all the major Scottish concert halls and in the prestigious, Orkney based, St Magnus Festival. He frequently appears in the world’s most renowned concert halls, such as the Musikverein and Konzerthaus in Vienna, Grosses Festspielhaus Salzburg, Usher Hall Edinburgh, and the Symphony Hall in Chicago. 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. He was also 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, Sir Andrew Davis, and Pierre Boulez, who entrusted Danzmayr with the preparatory rehearsals for his own music.

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Photo: Marco Borggreve

Creative Partner & Principal Guest Artist The Wilson Family Chair

Vadim Gluzman Universally recognized among today’s top performing artists, Vadim Gluzman breathes new life and passion into the golden era of the 19th and 20th centuries’ violin tradition. Gluzman's wide repertoire embraces new music, and his performances are heard around the world through livestreams, broadcasts and a striking catalogue of award-winning recordings for the BIS label. The Israeli violinist appears with world’s leading orchestras and conductors, including Tugan Sokhiev with the Berlin Philharmonic, Boston Symphony and Orchestre de Paris; Neeme Järvi with Chicago Symphony and London Philharmonic; Riccardo Chailly with the Royal Concertgebouw Orchestra and the Gewandhaus Orchestra, Santtu-Matias Rouvali with Gothenburg Symphony and Philharmonia Orchestra, as well as with the Cleveland Orchestra under the batons of Hannu Lintu and Michail Jurowski. He appears at Ravinia, Tanglewood, BBC Proms, Grant Park and the North Shore Chamber Music Festival, he founded in 2011. Gluzman starts the 2023/24 season with a return to the London Proms with the BBC Symphony and Gustavo Gimeno, followed by performances with the Deutsches Symphonie-Orchester Berlin, London Philharmonia Orchestra, Prague Philharmonia, as well as Florida Orchestra, Vancouver and Indianapolis Symphony Orchestras. He conducts a masterclass and performs at the Kronberg Festival and continues to lead performances with the ProMusica Chamber Orchestra in Columbus, Ohio, where he serves as a Creative Partner and Principal Guest Artist.

Gluzman has premiered works by Sofia Gubaidulina, Moritz Eggert, Giya Kancheli, Elena Firsova, Pēteris Vasks, Michael Daugherty and Lera Auerbach. In the current season he will introduce new violin concerto by Erkki-Sven Tüür with HR Frankfurt Radio Orchestra and Nicholas Collon. Accolades for his extensive discography include the Diapason d’Or of the Year, Gramophone’s Editor’s Choice, Classica magazine’s Choc de Classica award, and Disc of the Month by The Strad, BBC Music Magazine and ClassicFM. Distinguished Artist in Residence at the Peabody Conservatory, where he teaches a selected group of young violinists, Gluzman performs on the legendary 1690 ‘ex-Leopold Auer’ Stradivari, on extended loan through the Stradivari Society of Chicago.

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Important Information Latecomers will not be seated until the first convenient pause in the program. Cell Phones, Pagers, and Signal Watches should be turned off prior to the performance. Cameras and recording devices may not be used in the theatre without prior authorization from ProMusica. Concessions are available inside the front doors to the left. An ATM machine is located in the Westin Columbus hotel lobby, adjacent to the theatre. Restrooms are located at the top of the stairs, men’s on the left and women’s on the right. Handicap accessible restrooms are at the back of the main floor seating. Special Needs Services are available. Please ask an usher for assistance. Assisted Listening Devices for sound amplification are available upon request at the concession area. ProMusica can provide the following services with a minimum of four weeks notice prior to the concert date: • Concert guides in Braille or large print, an audio recording in program order, program notes and guest artists biographies. • A sign language interpreter to interpret any vocal music that might be part of the program.

TICKETS OR ADDITIONAL INFORMATION Ticket Exchanges are only available to season subscribers. Returned tickets qualify as a tax-deductible gift to ProMusica but must be returned no later than the Thursday prior to the concert. Call ProMusica at 614.464.0066 or return tickets by mail. Discounted Group Rates are available. Call 614.464.0066 for pricing and additional information. Student Tickets are available for $12 through the ProMusica office. To purchase tickets or for additional information, call 614.464.0066, visit www.promusicacolumbus.org, or stop by the ProMusica office from 10:00 AM - 4:00 PM, Monday-Thursday, 620 East Broad Street, Suite 300.

OUR MISSION

To deliver a world-class chamber

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

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

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

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WISHING YOU A FANTASTIC SEASON, PROMUSICA!

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

Bob Redfield, Civic Leader Lavea Brachman, Brookings Institution Matthew Fornshell, Ice Miller LLP Joan Herbers, The Ohio State University Susan Lubow, BakerHostetler Todd Swatsler, Partner (retired), Jones Day Elizabeth Turrell Farrar, Vorys, Sater, Seymour & Pease LLP Elizabeth Moyo, Porter, Wright, Morris & Arthur LLP

TRUSTEES Maceo Bates, PNC Bank Lynn Elliott, Columbus Window Cleaning Nancy Falk, Central Ohio Primary Care Physicians + William Faust, Ologie Adam Ferguson, Huntington Bank Jake Gibson, Bank of America David Hedgecoth, The Ohio State University Laurie Hill, Civic Leader + Dave Humeston, Civic Leader Stephen Keyes, Abercrombie & Fitch Eric Kline, ProMusica Musician Representative Christine Kullberg, Cardinal Health + Bill McDonough Susan Quintenz, Civic Leader Jennifer Ross, ProMusica Musician Representative Julie A. Rutter, American Electric Power Lee Shackelford, Physician Caitlin Sherman, The Ohio State University Wexner Medical Center Mark Sholl, Hilliard City Schools EX-OFFICIO Janet Chen, Chief Executive Officer The Tom Battenberg & Helen Liebman Chair David Danzmayr, Music Director The Elizabeth M. Ross Music Director Laurie Schmidt-Moats, Sustaining Board Representative + Executive Committee Member

ADMINISTRATION Janet Chen

Chief Executive Officer T he Tom Battenberg & Helen Liebman Chair David Danzmayr Music Director The Elizabeth M. Ross Music Director Vadim Gluzman C reative Partner & Principal Guest Artist The Wilson Family Chair Mayra Aburto E xecutive Assistant & Special Projects Manager Lauren Blair Education & Community Engagement Manager Yvette Boyer Finance Manager Lane Champa Play Us Forward Coordinator & Lead Instructor Nat Hickman Artistic Operations Assistant Carolyn Jakubczak Ticketing & Patron Services Manager Suzanne Jennison Orchestra & Operations Manager Matthew Kurk Director of Advancement & Engagement Brittany Lockman Director of Marketing J.D. Mooney Creative Content Coordinator Mariana Szalaj Music Librarian TRUSTEES CIRCLE Artie Isaac, Chair Deborah Anderson Tom Battenberg Milt Baughman Martin Campbell Mark Corna Peter Costanza Patt DeRousie Jim Elliott Beverley Ervine Jim Ginter

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Melissa Ingwersen Katherine Borst Jones Suzanne Karpus Donna Laidlaw Boyce Lancaster Dr. Wayne Lawson Mary Lazarus Peggy Lazarus Nancy Marzella Dr. William Mitchell Bernie Yenkin

The sound of innovation We proudly support ProMusica, delivering inspiring performances, engaging diverse audiences and breaking new ground in chamber music for more than 40 years.

bakerlaw.com

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

Marianne Mottley Special Events Rose Hume Sunshine MEMBERS-AT-LARGE Beverley Ervine Paul George Barbara Goettler Steven Hillyer Boyce Lancaster Barry Liss Thom O’Reilly Lee Shackelford Dyann Wesp CONCERTMASTER MEMBERS Jordan Andrews* Anonymous Sally Baughman Daniel Burry* Richard Burry Yvonne Heather Burry Mark Butler Sandy Byers Donna Cavell Marilee Chinnici-Zuercher Darci Congrove* Mimi Dane* Harriet Donaldson Ellen Kay Douglas Beverley Ervine Betty Giammar Barbara Goettler Beth Grimes-Flood Laurie Hill Steven Hillyer Jody Croley Jones Michael Jones Sharon Kokot

Donna Laidlaw Boyce Lancaster Mary Lazarus Barry Liss Kathy Ludlam Lisa Maggard Michael Maggard Jennifer Markovich Judy Michaelson Marianne Mottley Larry Neal Mary Oellermann Thomas O’Reilly Dorothy Pritchard Susan Quintenz Deb Raita Bob Redfield Stephanie Riedmiller* Robert Rutter Laurie Schmidt-Moats Lee Shackelford Sallie Sherman Beth Stafa Stephanie Stephenson Robert Wing Miriam Yenkin Mary Yerina

Marybeth McDonald Susan McDonough Jane McMaster Hugh Schultz Marquell Segelken Gail Walter Dyann Wesp Margie Williams Becky Wright Serie Zimmerman

PRINCIPAL MEMBERS Claudia Abrams Kim Bingle Nancy Brownell Janet Chen Nancy Edwards* Maggie Cunningham Barbara Elliott Lynn Elliott Elizabeth Turrell Farrar Marion Fisher D. Jean Hester Rose Hume Andrew Maggard

* New member

Contact the Sustaining Board at sustainingboard@promusicacolumbus.org. promusicacolumbus.org/sustainingboard 2 0 2 3 - 2 4 S E A S O N | promusicacolumbus.org

MUSICIAN MEMBERS Peg Bainbridge* Ellen Bowden Barbi Crabill* Lindsey Dunleavy Mary Faure Ellen George Paul George Sue Gross Elayne Gunder Joan Kirschner* Linda Kurtz Cindy Mackin Jan Quatman* Anne Powell Riley Ellen Yen With profound gratitude and many fond memories of Elizabeth Williams

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.

350+ lawyers in Columbus and beyond icemiller.com ATTORNEY ADVERTISING MATERIAL

INVEST ENGAGE INNOVATE LEAD Learn more about our grant programs and resources, find your next arts experience, or connect: OAC.OHIO.GOV.

Grantee Spotlight: THE ARTS COMMISSION OF GREATER TOLEDO The Arts Commission’s Young Artists at Work (YAAW) program offers paid summer apprenticeships to area teens to learn creative skills and job skills alike and to connect to community through the creation of public art and salable works. The 2023 YAAW program ran from June 26 to August 4. Apprentices worked together with the visual arts staff to design, present, and execute a mural on the work shed at the Toledo Grows Community Garden. Photo Credit: Natalie Tranelli

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January Guest Artist

Fiona Khuong-Huu Born in New York City, sixteen-year-old Fiona started the violin at age three with the Suzuki method and has attended the Juilliard Pre-College Division since the age of ten, studying with Professors Li Lin and Itzhak Perlman. She has performed as a soloist and chamber musician in the United States, Italy, Germany, Belgium, the Netherlands, London, and more. Most recently, Fiona made her debut with the New York Philharmonic under the baton of Maestro Thomas Wilkins in David Geffen Hall for the Centennial Anniversary of the Young People’s Concerts. She has had the honor of performing in the presence of King Charles at Lancaster House with the Oxford Philharmonic Orchestra under the baton of Maestro Marios Papadopoulos, with whom she has performed as soloist at the Windsor Castle and the Frick Collection of New York, and in Carnegie Hall’s Stern Auditorium and the Buckingham Palace along with Maxim Vengerov.

She has also performed as soloist with the Juilliard Orchestra in Alice Tully Hall in Lincoln Center, with the Flanders Symphony Orchestra at the Bozar Concert Hall in Brussels, as well as the Arrigoni Orchestra in Italy. Fiona was awarded the prestigious Career Grant Award from Salon de Virtuosi in 2021 and performed in several of their concert series, and is also a recipient of the 2022 Arkady Fomin Scholarship Fund from the North Shore Chamber Music Festival. She has performed as part of the Bouchaine Young Artist Series of Festival Napa Valley in 2021 and 2023 and taken part in chamber music festivals such as Chamber Music Northwest, Keshet Eilon, and the Heifetz Institute. She attended the Heifetz Institute’s HEIR Residency in 2023 and frequently performs as a guest artist with the Jupiter Symphony Chamber Players and the non-profit organization Project Music Heals Us. She has also performed often on the NPR show From The Top and in the musical storefront series with the Kaufman Music Center. She attends the Spence School in New York.

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D AV I D D A N Z M AY R THE ELIZABETH M. ROSS MUSIC DIRECTOR VIOLINS Katherine McLin, concertmaster The Michael Jones & Jody Croley Jones Chair Rebecca Willie, assistant concertmaster The Joan M. Herbers Chair Jennifer Ross, principal second The Brachman Smith Family Chair **Amy Cave The Randy & Marilyn Miller Chair Eric Kline The Jim & Ida Copenhaver Ginter Chair Heather Kufchak* The Deborah Raita Chair Solomon Liang The Laurie & Thomas W. Hill Chair William Manley The Fran Luckoff Chair Victoria Moreira The Dyann & E. Joel Wesp Chair Koko Watanabe The Sallie J. Sherman Chair VIOLAS Elias Goldstein, principal **Stephen Goist The Keith F. and Katherine B. Dufrane Trust Chair Mary Harris The Margaret & Jerome Cunningham Chair Michael Isaac Strauss The Anne Powell Riley Chair VIOLONCELLOS Marc Moskovitz, principal The Barbara Trueman Chair **Joel Becktell The Donna K. Laidlaw Chair Nat Chaitkin The William K. Laidlaw Trust Chair Cora Kuyvenhoven T he Bob & Mary Frances Restrepo Chair

BASSES John Pellegrino, principal The John F. Brownley Chair Patrick Bilanchone* The Kathryn D. Sullivan Chair

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

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

HARP Jeanne Norton, principal The Sustaining Board Chair

OBOES Donna Conaty, principal The Lee Shackelford Chair Jessica Smithorn The Artie & Alisa Isaac Chair CLARINETS Ilya Shterenberg, principal T he Beth Grimes-Flood & Tom Flood Chair Jennifer Magistrelli The Jack & Betsy Farrar Chair BASSOONS Ellen Connors, principal The ML Chair Rachael Young The Carolyn Merry & Bob Redfield Chair HORNS Stephanie Blaha, principal The Todd S. Swatsler Chair Matthew Oliphant+ The Denise & Barry Blank Chair TRUMPETS Vacant, principal The Susan L. Quintenz Chair Timothy Leasure The William & Wendy Faust Chair

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HARPSICHORD Aya Hamada, principal The ProMusica Board Chair in memory of Ida Copenhaver ASSISTING MUSICIANS Amy Guitry flute Maximilian Morel trumpet Ling Ling Huang violin Tea Prokes violin Yael Senamaud viola Joseph Mueller cello Sidney King Bass Scott Cuellar celeste ORCHESTRA MANAGER Suzanne Jennison ** Begins the alphabetical listing of string players who participate in a system of rotated seating. *On leave for the 2023-24 season +One year appointment The Musicians of the ProMusica Chamber Orchestra are members of, and represented by, the Central Ohio Federation of Musicians, Local 103 of the American Federation of Musicians.

VIRTUOSIC VIOLIN Fiona Khuong-Huu, violin David Danzmayr, conductor Southern Theatre // Saturday, January 27 // 7:00 PM Southern Theatre // Sunday, January 28 // 7:00 PM

PROKOFIEV Symphony No. 1 in D Major, Op. 25, “Classical” I. Allegro con brio II. Larghetto III. Gavotte: Non troppo Allegro IV. Finale: Molto Vivace SAINT-SAËNS Introduction and Rondo Capriccioso in A Minor, Op. 28 Andante malinconico – Allegro ma non troppo – Piu Allegro Fiona Khuong-Huu, violin RAVEL Tzigane Fiona Khuong-Huu, violin

Intermission

Intermission lasts 15 minutes HAYDN Symphony No. 104 in D Major, “London” I . Adagio – Allegro II. Andante III. Minuet: Allegro & Trio IV. Finale: Spiritoso Fiona Khuong-Huu’s appearance is in partnership with North Shore Chamber Music Festival’s Arkady Fomin Scholarship Fund. Stay for Coda: Post-Concert Conversation. Meet Fiona Khuong-Huu and David Danzmayr and learn more about tonight’s program.

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JANUARY About the Music Sergei Prokofiev (1891-1953): Symphony No. 1 in D Major, Op. 25, “Classical” Instrumentation: Scored for pairs of flutes, oboes, clarinets, bassoons, horns and trumpets, timpani, and strings Composed: 1917 Duration: 15 minutes In the summer of 1917, during Petrograd’s February Revolution, Russian-born Sergei Sergeyevich Prokofiev packed his bags and fled to the countryside. Once safe from the violence of the city streets, he took up a project: compose a work in the classical style without the aid of a piano. Working without a keyboard would push Prokofiev, for the instrument was his instrument. He had already achieved notoriety on account of his earlier piano concertos, fiendishly difficult and bracingly dissonant works. His intent now was to mimic the symphonic style of Haydn and Mozart, but to infuse his score with personal, 20th century elements—off-kilter harmonies, unexpected phrasing, and the like. For good measure, he then added the moniker “Classical,” and it stuck. Rooted firmly in the bright key of D major, Prokofiev’s first numbered symphony follows predictable pathways, particularly its four-movement architecture (fast-slowmedium-fast) and the structures within. Yet there are quirky characteristics along the way, several of which are worth pointing out. There is the composer’s penchant for quickly shifting ideas. Rather than giving over his themes to a single instrument or family, Prokofiev often breaks up the instrumentation, creating kaleidoscopic color and interest. Accompanimental gestures, which would have been left to the lower strings and bassoon in the 18th century, are now also divided up among the entire band. Thus, harmonic and rhythmic timekeepers appear and disappear like a jack-in-the-box. And instead of modulating subtly from

one key to another, as Mozart would have done, Prokofiev often simply steps up or down into a new key without preparation, resulting in charming harmonic jolts. One more thing: as opposed to the incorporation of an elegant triple-meter minuet, the stately dance of the nobility that Haydn and Mozart nearly always included in their four-movement symphonic architecture, Prokofiev winkingly writes a Gavotte, an earthy, duple-time French folk dance from the Baroque era. The result is incomparably charming music, and if not entirely typical of this Russian master, the score has nonetheless remained among his most beloved.

Camille Saint-Saëns (1835-1921): Introduction and Rondo Capriccioso in A Minor, Op. 28 Instrumentation: Scored for solo violin, pairs of flutes, oboes, clarinets, bassoons, horns and trumpets, timpani, and strings Composed: 1863 Duration: 10 minutes Despite living eighty-six years and well into the 20th century, Camille Saint-Saëns remained content to craft stirring melodies and set them within traditional, tonal harmonies. Not for him were the decadent notions of the younger generation, he noted later in life. Instead, he strove for balance, symmetry, and clarity and in the end was, without doubt, among the most gifted composers on the European continent. Saint-Saëns composed within every genre of the age and then some, as evidenced by his popular Carnival of the Animals. He wrote splendidly for every instrument of the orchestra, the piano and organ (he was a virtuoso of both), and voice. The Introduction and Rondo Capriccioso was composed in 1863 for the great Spanish violinist Pablo de Sarasate, who gave the work its premiere. Despite having written a handful of full-fledged violin concertos, this nineminute work has remained the composer’s most popular concertante composition, and for good reason. The moving, melancholic introduction and the dazzling rondo that follows, with its Spanish swagger and rousing coda, never fail to electrify.

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Maurice Ravel (1875-1937): Tzigane, Concert Rhapsody for Violin and Orchestra

Franz Joseph Haydn (1732-1809): Symphony No. 104 in D Major, “London”

Instrumentation: Scored for pairs of flutes, oboes, clarinets, bassoons and horns, trumpet, harp, celeste, percussion, and strings Composed: 1924 Duration: 10 minutes

Instrumentation: Scored for pairs of flutes, oboes, clarinets, bassoons, horns and trumpets, timpani, and strings Composed: 1795 Duration: 29 minutes

Paris in the 1920’s—what better place on earth to experience the avant-garde world of art, literature, and music? Everyone worth hearing, watching, or reading was here. In Paris, Picasso collaborated with Sergei Diaghilev and the Ballet Russe, Ernest Hemmingway penned The Sun also Rises and drank with James Joyce (who put the final touches on Ulysses not long after his arrival in the French capital), George Gershwin wrote An American in Paris, dancer Josephine Baker worked her cabaret magic, and Salvador Dalí twirled his iconic spaghetti mustache. It was also a period of great exoticism, of western artists trying to capture the essence of foreign lands, peoples, and sounds in their work. This was the period of Ravel’s Tzigane.

When, on New Year’s Day of 1791, Haydn stepped off the ferry from Calais and onto British soil, it symbolized the end of one significant musical journey and the start of another. The physical journey to England had been short, by comparison. Fifteen days earlier Haydn had bid farewell to his friends in Vienna—Mozart among them— and boarded a coach in the company of Johann Salomon. The German-born impresario had convinced Haydn to travel to England, where his music was certain to be enthusiastically received. Now, having traversed open water for the first time in his life, Haydn soon entered London, embarking on a new adventure as a man recently freed from three decades of musical servitude.

“Tzigane” translates to gypsy (who today are referred to as Romani) and although Ravel didn’t infuse his score with any authentic Romani melodies, it nevertheless breathes the air of these nomadic people. Tzigane, for Ravel, meant a certain style or color and creating color is what Ravel did best. His rhapsody begins with a darkly sensuous violin cadenza of an improvisational character before the orchestra joins for a fluid series of dances, some impassioned, others frenetic. Ravel’s writing is brilliant throughout and the balance between forces is absolutely exquisite.

Until this point, Franz Joseph Haydn had spent the bulk of his career in the service of the immensely wealthy Esterhàzy family, composing, conducting, teaching, organizing, and doing pretty much everything else musical life in the palace required. If the prince wanted an opera performance next month to better entertain visiting royalty, or to play duets with his kapellmeister, Haydn made it happen. For years, Haydn had no concern about his next meal or whether or not his music would be performed, and for better or worse, he acknowledged that being shut off in the country forced him to become original. But enough was enough. So, when Haydn’s employer died and Salomon came calling, Haydn jumped at the opportunity to travel.

This single-movement, ten-minute work was written for— and received its 1924 premiere by—the Hungarian virtuoso Jelly d’Arányi, great niece of the esteemed violinist Joseph Joachim. Ravel’s violinistic fireworks left little doubt about her abilities. Though originally composed for violin and piano, Ravel’s subsequent orchestration all but ensured that this latter version of the work would become a favorite of soloists and orchestras alike.

So successful was his first journey to London that several years later, Haydn returned. During both visits Haydn brought out a string of new symphonies for Salomon’s public concert series, and his English listeners couldn’t get enough. It was in 1795, during this second visit to the British capital, that Haydn’s crowning orchestral masterwork, his 104th and final symphony, was penned. Like all the previous concerts, the premiere was a rousing success. Reflecting on the evening, Haydn said, "The entire

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company was thoroughly pleased and so was I. I earned 4,000 gulden on this evening: such a thing is only possible in England." With his newfound English audiences in mind, Haydn delivered decades worth of experimentation. The curtain opens with a slow, D minor introduction, the orchestra (including timpani) intoning a solemn statement that seems to declare, “You are about to embark upon the greatest symphony yet composed!” And then, as if it has all been in jest, Haydn ushers in his Allegro with a buoyant, joyful D major theme. Curiously, rather than transition to a second, contrasting theme, in keeping with standard sonata-form architecture, Haydn sticks with this principal theme for the entire movement, putting his material through its paces and revealing his profound and time-tested understanding of motivic developmental procedures.

The effervescent finale, the score’s pièce de résistance, again recalls the countryside, now by way of a drone bass line mimicking the bagpipes. Throughout this rollicking sonata-form movement, Haydn pulls out all his tricks, including dazzling orchestration, an extended development section—illustrating Haydn’s inexhaustible powers of invention—and sophisticated, if seemingly effortless, counterpoint. The score remains no less thrilling today than when the Londoners heard it for the first time and one can almost see a smiling Haydn, stepping from the podium and into the arms of the waiting impresario. Salomon, too, must have been all smiles in response.

The Andante again largely relies on a single idea, a gently rocking theme initially ushered in by the strings and then later joined by the winds. Contrasting moods are achieved by abrupt changes of key and character, including an explosive passage in the minor mode that gives way to a brilliant series of virtuosic violin string crossings. This is followed by a festive Minuet that evokes the glittering Hapsburg palace ballrooms of Vienna (was Haydn homesick?). Always the jokester, Haydn ribs us with sudden violin stabs that seem to end in mid-phrase. The contrasting trio takes us for a leisurely stroll beyond the city walls and into the countryside, as violins, flutes, and bassoons perform a country dance, accompanied by a simple string pizzicato.

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Upcoming Events NEIGHBORHOOD SERIES BACH & FRIENDS

SATURDAY, FEBRUARY 24 | 7:00 PM Worthington United Methodist Church SUNDAY, FEBRUARY 25 | 4:00 PM St. Mary Catholic Church Vadim Gluzman, violin & leader Donna Conaty, oboe Nadine Hur, flute Aya Hamada, harpsichord

SUBSCRIPTION SERIES THE ITALIAN SUN

SATURDAY, APRIL 13 | 7:00 PM SUNDAY, APRIL 14 | 7:00 PM Southern Theatre Johannes Moser, cello Vadim Gluzman, violin & leader

VADIM GLUZMAN PLAYS TCHAIKOVSKY

SPECIAL EVENT PROMUSICA SOIRÉE

FRIDAY, MARCH 15 6:00 PM | PARTY | The Westin Hotel 8:00 PM | CONCERT | Southern Theatre Joshua Henry, vocalist David Danzmayr, conductor

SATURDAY, MAY 11 | 7:00 PM SUNDAY, MAY 12 | 7:00 PM Southern Theatre Vadim Gluzman, violin & creative partner David Danzmayr, conductor

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Photo: Manfred Esser-Haenssler

April Guest Artist

Johannes Moser Hailed by Gramophone Magazine as "one of the finest among the astonishing gallery of young virtuoso cellists," German-Canadian cellist Johannes Moser has performed with the world’s leading orchestras such as the Berliner Philharmoniker, New York Philharmonic, Los Angeles Philharmonic, Chicago Symphony, BBC Philharmonic at the Proms, London Symphony, Symphonieorchester des Bayerischen Rundfunks, Koninklijk Concertgebouworkest, Tonhalle Orchestra Zurich, Tokyo NHK Symphony, Philadelphia and Cleveland Orchestras with conductors of the highest level including Riccardo Muti, Lorin Maazel, Mariss Jansons, Valery Gergiev, Zubin Mehta, Vladimir Jurowski, Franz Welser-Möst, Christian Thielemann, Pierre Boulez, Paavo Jarvi, Semyon Bychkov, Yannick Nézet-Séguin, and Gustavo Dudamel. His recordings include the concertos by Dvořák, Lalo, Elgar, Lutosławski, Dutilleux and Tchaikovsky, which have gained him the prestigious Preis der Deutschen Schallplattenkritik and the Diapason d'Or and Gramophone commented “[Lutosławski and Dutilleux Cello Concertos]...Anyone coming afresh to these masterly works... should now investigate this new release ahead of all others...” A dedicated chamber musician, Johannes has performed with Emanuel Ax, Joshua Bell, Jonathan Biss, James Ehnes, Vadim Gluzman, Leonidas Kavakos, Midori, Menahem Pressler, Andrej Korobeinikov, Gloria Campaner and Yevgeny Sudbin. Johannes is also a regular at festivals including the Verbier, SchleswigHolstein, Gstaad and Kissinger festivals, the Mehta Chamber Music Festival, and the Colorado, Seattle, and Brevard music festivals. Renowned for his efforts to expand the reach of the classical genre, as well as his passionate focus on new music, Johannes has recently been heavily involved in

commissioning works by Julia Wolfe, Ellen Reid, Thomas Agerfeld Olesen, Johannes Kalitzke, Jelena Firsowa and Andrew Norman. In 2011 he premiered Magnetar for electric cello by Enrico Chapela with the Los Angeles Philharmonic conducted by Gustavo Dudamel, and in the following season he continued this relationship with the orchestra performing Michel van der Aa's cello concerto Up-close. Throughout his career, Johannes has been committed to reaching out to all audiences, from kindergarten to college and beyond. He combines most of his concert engagements with masterclasses, school visits and preconcert lectures. Johannes Moser holds a professorship at the prestigious Cologne Hochschule fuer Musik und Tanz. Born into a musical family in 1979, Johannes began studying the cello at the age of eight and became a student of Professor David Geringas in 1997. He was the top prize winner at the 2002 Tchaikovsky Competition, in addition to being awarded the Special Prize for his interpretation of the Rococo Variations. In 2014 he was awarded with the prestigious Brahms Prize. A voracious reader of everything from Kafka to Collins, and an avid outdoorsman, Johannes Moser is a keen hiker and mountain biker in what little spare time he has. Johannes Moser plays on an Andrea Guarneri Cello from 1694 from a private collection.

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BASSES John Pellegrino, principal The John F. Brownley Chair Patrick Bilanchone* The Kathryn D. Sullivan Chair

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

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

HARP Jeanne Norton, principal The Sustaining Board Chair

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HARPSICHORD Aya Hamada, principal The ProMusica Board Chair in memory of Ida Copenhaver ASSISTING MUSICIANS Julian Maddox violin Yael Senamaud viola ORCHESTRA MANAGER Suzanne Jennison ** Begins the alphabetical listing of string players who participate in a system of rotated seating. *On leave for the 2023-24 season +One year appointment The Musicians of the ProMusica Chamber Orchestra are members of, and represented by, the Central Ohio Federation of Musicians, Local 103 of the American Federation of Musicians.

THE ITALIAN SUN Johannes Moser, cello Vadim Gluzman, violin & leader Southern Theatre // Saturday, April 13 // 7:00 PM Southern Theatre // Sunday, April 14 // 7:00 PM TCHAIKOVSKY Souvenir de Florence, Op. 70 I. Allegro con spirito II. Adagio cantabile e con moto III. Allegretto moderato IV. Allegro vivace Vadim Gluzman, violin Katherine McLin, violin Elias Goldstein, viola Mary Harris, viola Johannes Moser, cello Marc Moskovitz, cello

Intermission

Intermission lasts 15 minutes C.P.E. BACH Cello Concerto in A Major, H. 439, Wq. 172 I . Allegro II. Largo con sordini, mesto III. Allegro assai Johannes Moser, cello NINO ROTA Concerto per Archi I. Preludio (Allegro ben moderato e cantabile) II. Scherzo (Allegretto comodo) III. Aria (Andante quasi adagio) IV. Finale (Allegrissimo) GEMINIANI La Follia Variations (Arr. M. Wiancko) Johannes Moser's appearance is made possible by the Marzella Family. Stay for Coda: Post-Concert Conversation. Meet Johannes Moser and Vadim Gluzman and learn more about tonight’s program. 2 0 2 3 - 2 4 S E A S O N | promusicacolumbus.org

APRIL About the Music

Pyotr Ilyich Tchaikovsky (1840-1893): Sextet in D minor, Op. 70, ‘Souvenir de Florence’ Instrumentation: Scored for two violins, two violas and two cellos Composed: 1890 Duration: 40 minutes The Romantic era was awash with troubled souls, but perhaps none was a more fitting poster child of the era than Tchaikovsky. The composer fought against a variety of personal issues, including depression, low self-confidence, and anxiety. Then there was the matter of his homosexuality, which he was forced to hide from the public. Ultimately Tchaikovsky died of cholera, having drunk unboiled water, and many historians continue to believe that the composer took his own life. Given his struggles and the unrelenting, brutal Russian weather, we can only imagine how Tchaikovsky’s mood must have temporarily lifted when he stepped into the glorious Florence sunshine in the summer of 1890. He had come south to escape distraction and threw himself at once into the composition of a new opera, The Queen of Spades, the score of which was dispatched in the miraculous span of only 43 days. In his off hours, Tchaikovsky took in the sights, although the Uffizi didn’t impress him much. Following a visit to the gallery, he stated "I must confess that painting, especially old painting, is essentially completely beyond my understanding and leaves me cold.” Tchaikovsky then returned home and in June and July composed his string sextet. Despite its Florentine title, the composer maintained that the work shared no direct connection to the city, though some of the themes certainly seem to breathe the beguiling Italian air. The choice to write for strings was not new, for the man who had made his name as a brilliant composer of ballet and symphonic works also had several string quartets to his

credit. Despite the allure of the medium, the inherent limitations of volume and color among four string players may well have been the impetus to increase their number by two, thus allowing for greater orchestral possibilities. The triple-time Allegro con spirito explodes out of the gate with a weighty, muscular theme, while the driving accompaniment lends a feverish air. This character is allowed momentary respite by the charming, relaxed secondary material with its pizzicato accompaniment. The movement builds to a frenetic atmosphere and concludes with a blistering coda. Following the introductory hymn, the Adagio cantabile e con moto settles into a serenade of sorts, an impassioned melody set atop a strumming accompaniment, Tchaikovsky heart-on-your-sleeve-music-making at its finest. The character is briefly interrupted by an effective passage featuring rapid waves of triplets set into very structured phrasing. The final two movements are overtly Russian in character. The first, a 2/4 Allegretto moderato, begins dark and robust but gives way to a spirited midsection characterized by thrown bows that bounce against the string. The finale, marked Allegro con brio e vivace, opens with a rocking accompaniment that determines much of what follows. The theme itself is more rhythm than melody which Tchaikovsky will successively develop. This is followed by a broad theme set atop the previously established rocking accompaniment. Tchaikovsky introduces a fullblown fugue in the midst of this most contrapuntal of movements but eventually throws caution to the wind and concludes this magnificent chamber work with a triumphant burst of raw, romantic Russian energy.

Carl Philipp Emanuel Bach (1714-1788): Cello Concerto in A Major, H. 439, Wq. 172 Instrumentation: Scored for solo cello, strings, and continuo Composed: 1753 Duration: 20 minutes Among the twenty children born to Johann Sebastian Bach (a number of whom didn’t survive infancy), several became successful composers in their own

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right. Carl Philipp Emanuel was Bach’s fifth child with his first wife, Maria Barbara, and he grew to become one of Europe’s premiere keyboardists. His A major Cello Concerto is a product of the year 1753, written during a period when C.P.E. was comfortably enmeshed as chamber musician, or Kammermusikus, at the court of Frederick the Great in Berlin. This was certainly among the most sought-after posts in all of Europe, for Frederick was himself a talented flutist who stocked his court with some of the finest musicians on the continent. C.P.E. came onto the musical scene at a time of transition. His father’s Baroque practices were recognized as a thing of the past but the lighter and more streamlined characters that would define the Classical era had yet to materialize. Composers at the Prussian court tended to write serious, expressive works stressing extremes of mood and C.P.E. was a significant proponent of this Empfindsamer Stil, or sensitive style. This is evident throughout the first movement of the Cello Concerto, where ideas come and go so quickly that they can be difficult to grab ahold of. At court, figuration and embellishment were thought to lend music deep expression, hence the frequent decorative trills and turns. It is in the slow movements where the expressive style really comes to the fore. In his Largo maesto, C.P.E. plunges us unapologetically into the dark realms of A minor. There is no mistaking the composer’s intent, given the abundance of “sigh” motives, the pathetic quality of the cello’s first subject and the stress of intense dissonances. The Allegro assai switches gears completely. The high-spirited ritornello, or refrain, establishes the recognizable anchor, around which the soloist bobs and weaves, offering up an abundance of dazzling passagework. The work ends quickly; no triumphant final chords here, just spirited, honest music making.

Nino Rota (1911-1979): Concerto per Archi Instrumentation: Scored for strings Composed: 1964-65 Duration: 16 minutes Whether or not you’re familiar with the name Nino Rota, you’ve likely heard his music. The Italian composer

scored over 150 films, among them The Godfather, the theme to which is arguably Rota’s most famous melody. Born in Milan, Rota was composing by the age of eight, and following musical studies in Milan and Rome, came to America to study at the Curtis Institute, upon the advice of Arturo Toscanini. As his mastery of his craft developed, he found himself increasingly drawn to popular song and operetta and came to appreciate music’s psychological potential. After WWII, Rota threw himself into film music to make a living, despite a perceived lack of dignity within the industry. Rota soon changed all that. After collaborating with a handful of Italian directors, Rota found his way to Frederico Fellini and a musical marriage, not unlike that between Steven Spielberg and John Williams, was born. The two went on to blaze an extraordinary path, whereby the musical score was intrinsically and inextricably bound to the drama playing out on screen. Rota went on to write film scores for Zeffirelli, Visconti, Coppola, and others. As succinctly stated in the New Groves Dictionary, “Rota's idiom was exceptionally and uninhibitedly responsive to a wide variety of influences and was supported by a masterly technique, an elegant manner, and a capacity for stylistic assimilation.” In the case of the four-movement Concerto per Archi (Concerto for Strings), Rota’s intent is less about constructing movements according to a preconceived plan than allowing his ideas to develop on their own terms, perhaps something along the lines of literature’s stream of consciousness. The Preludio, for instance, relies on three distinct ideas: a languid theme initially shared among violins and violas, a dotted rhythm (long-short, long-short) introduced by the first violins five bars in, and an aggressive, 16th note figure that Rota will spin out in perpetual motion. Each gesture comes and goes at will, sometimes alone, sometimes in conversation, and sometimes played in unison by the entire ensemble. So evocative is the writing, one can almost visualize the action. Rota treats the Scherzo as a macabre waltz, which he spices up à la Shostakovich with displaced accents. The ominous Aria (Andante

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quasi Adagio) twice builds to an intense climax, yet on the whole, the movement is about atmosphere and seems fully adaptable to the screen. Rota’s driving finale, marked Allegrissimo, is a Hitchcockian romp of dizzying intensity.

Francesco Geminiani (1687-1762): La Follia Variations, arranged by Michi Wiancko

is one such work. Over a well-known progression embraced by hundreds of composers over the centuries, Geminiani exploits the various techniques of string writing. Violinist and composer Michi Wiancko has spruced up Geminiani’s score, in the attempt to highlight those elements that “continue to resonate strongly with us today: passion, improvisation, intimacy, and the occasional moment of irreverence.”

Instrumentation: Scored for strings, claves, and tambourine Composed: 2013 Duration: 13 minutes Italian violinist and composer Francesco Geminiani is somewhat of a forgotten figure of the Baroque era, but in his day was regarded as the equal of Handel. His best works were his Corelli-inspired concerti grossi, string ensemble pieces that featured various soloists. La Follia

About the Program Notes Author

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

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

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FAMILY LIBRARY CONCERT SERIES

Join ProMusica musicians for FREE, family-friendly concerts that link classical music and children’s literature at your neighborhood library branches. These engaging concerts focus on specific themes in music and offer a display of corresponding books and stories for everyone to enjoy. Sunday, January 28 at 3:00 PM Upper Arlington Public Library: Main Library 2800 Tremont Rd., Upper Arlington, OH 43221 Sunday, March 17 at 3:00 PM CML: Gahanna Branch 310 Granville St., Gahanna, OH 43230 Sunday, April 14 at 3:00 PM CML: Hilltop Branch 511 S. Hague Ave., Columbus, OH 43204

PROMUSICA STORYTIMES

Bring your youngest music lovers to your neighborhood library for Storytimes, free programs tailored to preschoolers at branches around the city. Each ProMusica Storytime features a unique theme uniting story and song, and our musicians serve as co-hosts along with the librarians. Music, books, and interactive activities offer an energizing and engaging learning experience. Tuesday, February 6 at 10:30 AM CML: Northside Branch (1423 N. High St.)

Wednesday, March 13 at 1:00 PM CML: Canal Winchester Branch (115 Franklin St.)

Tuesday, February 20 at 10:30 AM CML: South High Branch (3540 S. High St.)

Monday, April 8 at 10:00 AM CML: Shepard Branch (850 N. Nelson Rd.)

Wednesday, March 6 at 11:00 AM CML: Whitehall Branch (4445 E. Broad St.) SPONSORED BY: The Siemer Family Foundation | The English Family Foundation

FLUTES Nadine Hur, principal The Dana Navin Schultz Chair Anthony Trionfo+ The Miriam & Bernard Yenkin Chair OBOES Donna Conaty, principal The Lee Shackelford Chair Jessica Smithorn The Artie & Alisa Isaac Chair CLARINETS Ilya Shterenberg, principal T he Beth Grimes-Flood & Tom Flood Chair Jennifer Magistrelli The Jack & Betsy Farrar Chair BASSOONS Ellen Connors, principal The ML Chair Rachael Young The Carolyn Merry & Bob Redfield Chair HORNS Stephanie Blaha, principal The Todd S. Swatsler Chair Matthew Oliphant+ The Denise & Barry Blank Chair TRUMPETS Vacant, principal The Susan L. Quintenz Chair Timothy Leasure The William & Wendy Faust Chair TIMPANI & PERCUSSION Renee Keller, principal The Susan C. Johnson Chair Rajesh Prasad The Bob Redfield & Mary Yerina Chair HARP Jeanne Norton, principal The Sustaining Board Chair HARPSICHORD Aya Hamada, principal The ProMusica Board Chair in memory of Ida Copenhaver

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ASSISTING MUSICIANS Amy Guitry flute Brett Hodge horn Brad Granville horn Mark Grisez trumpet David Roode trombone Michael Charbel trombone Chad Arnow trombone Christopher Blaha tuba Ling Ling Huang violin Julian Maddox violin Shannon Thomas violin Tea Prokes violin Michael Molnau viola Yael Senamaud viola Pei-An Chao cello Jena Huebner bass ORCHESTRA MANAGER Suzanne Jennison ** Begins the alphabetical listing of string players who participate in a system of rotated seating. *On leave for the 2023-24 season +One year appointment The Musicians of the ProMusica Chamber Orchestra are members of, and represented by, the Central Ohio Federation of Musicians, Local 103 of the American Federation of Musicians.

VADIM GLUZMAN PLAYS TCHAIKOVSKY Vadim Gluzman, violin David Danzmayr, conductor Southern Theatre // Saturday, May 11 // 7:00 PM Southern Theatre // Sunday, May 12 // 7:00 PM

SILVESTROV

HYMNE – 2001

TCHAIKOVSKY Violin Concerto in D Major, Op. 35 I. Allegro moderato II. Canzonetta: Andante III. Finale: Allegro vivacissimo

Vadim Gluzman, violin

Intermission

Intermission lasts 15 minutes

BRAHMS Symphony No. 2 in D Major, Op. 73 I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso, quasi andantino IV. Allegro con spirito

Supporting Sponsor:

Nakamichi Foundation

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

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MAY About the Music

Valentin Silvestrov (b. 1937): HYMNE – 2001 Instrumentation: Scored for string orchestra Composed: 1999 Duration: 6 minutes Earlier this season we noted the neo-classical tendencies of Prokofiev and some contemporary composers as well. Tonight, we turn to the Hymn of Ukrainian-born Valentin Vasylyovych Silvestrov, whose six-minute Hymn might best be described as postromantic. Lush and melodically driven, the Hymn is elegiac in character, perhaps most reminiscent of Mahler. Composed in 2001, Silvestrov described the work as follows: My hymn is enveloped in silence although it appears like a customary string setting on the outside. The paradox of Cage’s 4’ 39” is also present in latent form, but this is the silence of new music. All melodic content from my other compositions can also be found here. A rest does not only constitute a lack of sound but is also a state of retardation and paralysis or a suspension of time. In early music, there was an occasional need for silence, but here it is a fundamental feature. John Cage, who Silvestrov references above, was a mid-20th century musical maverick whose works often called into question music’s purpose, including the role of silence. In the case of the Silvestrov, dramatic silence follows the last notes of the work, which seem

to pose more questions than answers, and perhaps also gives a clue to the composer’s larger, extramusical philosophies. He has not only rejected his own, previously practiced, modernist tendencies but, on a more global scale, those of Russia. In 1974 he walked out of a composer’s meeting in Kyiv, his home, in protest of the Soviet invasion of Czechoslovakia and, more recently, abandoned his home on account of the Russian invasion of Ukraine. He now makes his home in Berlin, Germany.

Piotr Ilych Tchaikovsky (1840-1893): Violin Concerto in D Major, Op. 35 Instrumentation: Scored for solo violin, pairs of flutes, oboes, clarinets, bassoons and trumpets, four horns, timpani, and strings Composed: 1878 Duration: 33 minutes The ease by which Tchaikovsky’s Violin Concerto initially took shape belied what proved to be a frustrated and somewhat tortured history. Tchaikovsky dispatched the score in only a month’s time, working closely with his composition pupil, a violinist named Itself Kotek, who aided with the technical intricacies of violin writing. It is believed the two were romantically involved and Tchaikovsky initially planned to dedicate the work to the younger man. However, Kotek eventually developed cold feet with respect to the score and Tchaikovsky, who took great pains to hide his homosexuality, decided his concerto needed another violinist. Enter Leopold Auer, the famed Hungarian violinist and teacher. Tchaikovsky not only hoped Auer would deliver the work’s premiere but went so far as to have the score published with a dedication to the violinist even before consulting him. Auer, however, was reluctant to commit to the premiere, which then had to be tabled. To his credit, Auer did set about making significant revisions to the violin part, all with the intent of making

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it better suited to the instrument. Even so, the choice not to premiere the work hurt Tchaikovsky deeply and was a decision Auer came to regret. Tchaikovsky granted Auer absolution prior to his premature death of cholera, but in the end, it was the Russian virtuoso Adolph Brodsky who finally premiered the work in 1881, three years after its completion.

Johannes Brahms (1833-1897): Symphony No. 2 in D Major, Op. 73

It is worth noting that Vadim Gluzman will perform this concerto on a violin formerly owned and played by Leopold Auer. No doubt Tchaikovsky heard Auer play his concerto on this very instrument.

It took Johannes Brahms over twenty years of tinkering before he trusted his First Symphony to be published. A work of this nature, he believed, had to be worthy of Beethoven. Now, in 1877, with the First behind him, Brahms worked with far greater confidence and efficiency, dispatching his Second Symphony over the course of a summer spent in the lakeside town of Wörthersee. The longer he stayed the more Brahms loved the picturesque little town and the surrounding countryside, environs which may well have provided the pastoral inspiration behind his D major score. The work was unveiled nearly as quickly, when it was premiered that December, in Vienna by the Philharmonic .

The concerto opens with a sonata-form Allegro, complete with a full-fledged orchestral introduction, and incorporating a dazzling cadenza toward its close. This is followed by a lovingly crafted Andante, which Tchaikovsky entitled “Canzonetta”, or little song. This was actually the composer’s second attempt at a slow movement, having found his original attempt less than adequate. Tchaikovsky launches into the third movement without pause, creating tremendous thrust (the movement has been equated with an SST airliner taking off from the tarmac). The finale is one of the greatest of Russian juggernauts and is topped by a breathless, exhilarating coda. The noted music critic Eduard Hanslick, a staunch advocate of Brahms, was on hand at the premiere and found Tchaikovsky’s score "odorously Russian” and was of the opinion that "the violin was…beaten black and blue.” Of course, the effect of the concerto is about as far from Brahms as is possible, but time has had the final say with respect to Tchaikovsky’s score. The work has been embraced by major soloists around the world and has become an audience favorite. A tour de force, the concerto contains some of the composer’s most memorable melodies and, while making tremendous demands on the violin, creates an undeniable air of electricity and triumph.

Instrumentation: Scored for pairs of flutes, oboes, clarinets and bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings Composed: 1877 Duration: 40 minutes

Brahms was now among Europe’s foremost composers, but the path had been anything but easy. At the age of ten, he made his debut as a pianist, performing Beethoven and Mozart, at a private concert in his hometown of Hamburg, but already he was hankering to compose. His parents dissuaded him, believing a more secure living was to be made as a pianist. He began touring but retained hope of one day being appointed conductor of the Hamburg Philharmonic. It came as a severe blow when the post was denied to him in 1862, so he traveled to Vienna, eventually deciding to remain. A year later he was appointed director of the Vienna Singakademie, while continuing to compose in a variety of genres. But the real turning point in Brahms’ career came only about a decade later, when he was named director of the Gesellschaft der Musikfreunde, Vienna’s most prestigious music society. Now Brahms' star began to rise in earnest.

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One by one, Brahms had been sending his compositions into the world: his First Piano Concerto, piano and choral works, among them Ein Deutsches Requiem, written upon the death of his mother, and chamber music. He entered the symphonic world with far greater reluctance, commencing first with a pair of orchestral serenades, eventually to be followed by his Variations on a Theme by Haydn. The latter score was warmly embraced and soon became among his most popular works. And finally, after a protracted gestation, came the First Symphony, then, more quickly, the Second. By the time his famous Violin Concerto premiered in 1878, Brahms’ reputation as "the leader in the art of serious music in Germany today" was secure. Brahms was, above all, a confirmed believer in the classical forms and structures of the previous generation, and thus his Second is, like all of the master’s symphonies, constructed according to wellestablished principles—sonata forms, themes and variations, minuets, and the like. Beyond the sheer beauty of his ideas, what set Brahms apart from his contemporaries was his craftsmanship, his sense of pacing, and the organic development of his material. Take note of what he does with the opening theme of the tranquil, sonata-form Allegro non troppo, which he introduces with lower strings and then horn. Likewise, the Adagio non troppo (slow but not too slow) opens in the lower strings, now with a brooding theme that Brahms will get around to transforming into one of the most glorious melodies he ever produced.

The sections of the Allegretto grazioso are more clearly defined. The first, an idyllic oboe melody accompanied by pizzicato strings in 3/4 time, is interrupted by a 2/4 Presto ma non assai, with animated strings soon yielding to the larger ensemble. Brahms will bank back and forth between the two ideas before closing with a vintage, melancholy coda. The Allegro con spirito finale opens with a meandering theme in the strings, a clouded reference to the first movement and confirming Brahms’ predilection for organic unity across the larger work. The gentle mood, however, is soon displaced by more heroic strains, evolving into "the blazing sunrise of the most athletic and ebulliently festive movement Brahms ever wrote," as described by one of Brahms’ biographers. This sonata-form movement eventually settles down to impressive development, with Brahms displaying a love of winds before the earlier energy returns. The composer crowns his summer symphony with a triumphant coda, a fitting conclusion to this most glorious of works.

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Meet the Musicians

Katherine McLin

concertmaster, 24 years The Michael Jones & Jody Croley Jones Chair Current Residence: Phoenix, AZ

Amy Cave

Jennifer Ross

principal second, 6 years The Brachman Smith Family Chair Current Residence: Jackson, WY

Eric Kline

Heather Kufchak*

violin, 9 years The Randy & Marilyn Miller Chair Current Residence: Cleveland, OH

violin, 12 years The Jim & Ida Copenhaver Ginter Chair Current Residence: Pickerington, OH

violin, 13 years The Deborah Raita Chair Current Residence: Ashland, OH

Solomon Liang

William Manley

Victoria Moreira

violin, 5 years The Laurie & Thomas W. Hill Chair Current Residence: Columbus, OH

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. 42

Rebecca Willie

assistant concertmaster, 9 years The Joan M. Herbers Chair Current Residence: Greensboro, NC

violin, 18 years The Fran Luckoff Chair Current Residence: Columbus, OH

Koko Watanabe

violin, 6 years The Sallie J. Sherman Chair Current Residence: Columbus, OH

violin, 9 years The Dyann & E. Joel Wesp Chair Current Residence: Chicago, IL

Elias Goldstein

viola, 1st year Current Residence: Landenberg, PA

Mary Harris

Stephen Goist

viola, 28 years The Margaret & Jerome Cunningham Chair Current Residence: Oxford, OH

viola, 9 years The Keith F. & Katherine B. Dufrane Trust Chair Current Residence: New York, NY

Cora Kuyvenhoven

Nat Chaitkin

cello, 23 years The Bob & Mary Frances Restrepo Chair Current Residence: Columbus, OH

Patrick Bilanchone*

double bass, 7 years The Kathryn D. Sullivan Chair Current Residence: Jacksonville, FL

Jessica Smithorn

oboe, 5 years The Artie & Alisa Isaac Chair Current Residence: Chattanooga, TN

cello, 16 years The William K. Laidlaw Trust Chair Current Residence: Cincinnati, OH

Nadine Hur

Michael Isaac Strauss

viola, 8 years The Anne Powell Riley Chair Current Residence: Oberlin, OH

Joel Becktell

cello, 15 years The Donna K. Laidlaw Chair Current Residence: Albuquerque, NM

Anthony Trionfo+

principal flute, 3 years The Dana Navin Schultz Chair Current Residence: St. Louis, MO

flute, 3 years The Miriam & Bernard Yenkin Chair Current Residence: New York, NY

Ilya Shterenberg

Jennifer Magistrelli

principal clarinet, 6 years clarinet, 12 years The Beth Grimes-Flood & Tom Flood Chair The Jack & Betsy Farrar Chair 2 0 2 3 - 2 4 S E A S O N | promusicacolumbus.org Current Residence: San Antonio, TX Current Residence: Richfield, OH

Marc Moskovitz

principal cello, 29 years The Barbara Trueman Chair Current Residence: Durham, NC

John Pellegrino

principal double bass, 12 years The John F. Brownley Chair Current Residence: Columbus, OH

Donna Conaty

principal oboe, 34 years The Lee Shackelford Chair Current Residence: Santa Cruz, CA

Ellen Connors

principal bassoon, 13 years The ML Chair Current Residence: St. Louis, MO

Rachael Young

bassoon, 8 years The Carolyn Merry & Bob Redfield Chair Current Residence: Cincinnati, OH

Timothy Leasure

trumpet, 20 years The William & Wendy Faust Chair Current Residence: Pickerington, OH

Jeanne Norton

principal harp, 44 years The Sustaining Board Chair Current Residence: Columbus, OH

Stephanie Blaha

principal horn, 6 years The Todd S. Swatsler Chair Current Residence: Wadsworth, OH

Renee Keller

principal timpani and percussion, 10 years The Susan C. Johnson Chair Current Residence: Lima, OH

Aya Hamada

principal harpsichord/keyboard, 19 years The ProMusica Board Chair in memory of Ida Copenhaver Current Residence: New York, NY

+ one-year appointment * on leave for the 2023-24 season

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Matthew Oliphant +

horn, 1st year The Denise & Barry Blank Chair Current Residence: Chicago, IL

Rajesh Prasad

percussion, 10 years The Bob Redfield & Mary Yerina Chair Current Residence: Raleigh, NC

2022-2023 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 Lavea Brachman and Andrew O. Smith Margaret and Jerome Cunningham Donald G. Dunn Barbara Fergus Ida Copenhaver and Jim Ginter Joan Herbers Helen Liebman and Tom Battenberg Kathryn Sullivan Todd Swatsler Barbara Trueman Miriam and Bernie Yenkin Anonymous Support from Corporations, Foundations & Public Agency Funds American Electric Power Cardinal Health Kenneth L. Coe and Jack Barrow Fund of The Columbus Foundation The COR Group of UBS Financial Services CoverMyMeds LLC The Crane Family Foundation The Fox Foundation Greater Columbus Arts Council Ingram-White Castle Foundation Nationwide Ohio Arts Council PNC 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 George Barrett Lauren Bonfield and Stephen Keyes John F. Brownley The Michael and Paige Crane Fund of The Columbus Foundation Keith Dufrane Betsy and Jack Farrar Beth Grimes-Flood and Tom Flood Michael Jones and Jody Croley Jones Donna Laidlaw The Mary and Robert Lazarus Fund of The Columbus Foundation Fran Luckoff Nancy Marzella Regie and David Powell The Quintenz Family Mary Frances and Bob Restrepo Anne Powell Riley Hugh Schultz Mark and Catherine Voris Mary Yerina and Bob Redfield Anonymous SPECIAL GIFTS In Memory of Frances N. Lazarus Peggy Lazarus Support from Corporations & Foundations BakerHostetler E. Nakamichi Foundation Fifth Third Bank Jones Day Huntington Ice Miller LLP L Brands

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The Hattie and Robert Lazarus Fund of The Columbus Foundation Porter, Wright, Morris & Arthur LLP Vorys, Sater, Seymour and Pease LLP SYMPHONY $3,000 - $4,999 Gifts from Individuals Barry Blank Lynn Elliott Wendy and Bill Faust Sylvia Fergus Dr. Dara and Mark Gillis Laurie and Thomas Hill Artie and Alisa Isaac – Yellow Springs Community Foundation Susan C. Johnson Suzanne Karpus Drs. Bill Mitchell and Wayne Lawson Marilyn and Randy Miller Deborah Raita Susan Restrepo and Patrick Schlembach David Schooler Sallie Joyce Sherman Kara Trott and Bob Philips Dyann and Joel Wesp Elizabeth Williams Anonymous Support from Corporations & Public Agency Funds CI Budros, Ruhlin, Roe Private Wealth City of Columbus Recreation and Parks Department The Crane Group Kegler, Brown, Hill + Ritter Ologie Yenkin-Majestic Paint

SPECIAL GIFTS In Memory of Pamela Romeo Elliott James Elliott In Honor of Pat Garavito Cardinal Health CONCERTO $2,000 -$2,999 Gifts from Individuals Catherine and John Brody Mary and Steve Burkey John and Trish Cadwallader Jayne Wenner and Peter Costanza Adam and Kate Ferguson Matthew Fornshell Pat and Darla Garavito Steven Hillyer George F. Knight Roger and Sue Whitaker Becky Wright Support from Foundations Henry W. & Martha L. Bruner Philanthropic Fund at the Buffalo Community Foundation English Family Foundation RHAPSODY $1,000 - $1,999 Gifts from Individuals Robert Allen and Diane Weaver Julia and Milt Baughman Sally and Roger Baughman Pamela and John Beeler Evelyn Behm Lynn and Paul Blower Ellen Bowden Patt and Chuck DeRousie The G. Britton & Carol Durell Family Fund of The Columbus Foundation Bebe and John F. Finn Dona Fling Ann and Jack Fowble Brian Fruchey Sherri Geldin Jack and Joan George Linda and Bill Habig Mark and Mary Howard Pam Hussen and Patrick Vincent Patricia and Brent Jackson The Josenhans Family Fund of The Columbus Foundation Susan and Barry Lubow

Elliott S. Luckoff Margaret A. Malone Susan and Bill McDonough Jessica Mrowzinski Gerald and Ann Newsom The Pink Witches James Reardon Julie and Bob Rutter Elizabeth Sawyers Sadie and Seyman Stern Doug and Ann Teske Nancy and Ray Traub Gail Walter and Allen Proctor Lillian Webb Robert Wing John and Sherry Young Anonymous Support from Foundations Columbus Jewish Foundation The Columbus Foundation Center for HumanKindness Fund SPECIAL GIFTS In Memory of George Corey Georgeann Corey In Memory of Allene N. Gilman The Allene N. Gilman Charitable Trust In Honor of Dave Humeston McKesson In Honor of Katherine McLin Diane McLin SONATA $500 - $999 Gifts from Individuals George and Vanessa Arnold Ronald Bell Barbara and David Brandt Earl Busenburg Robert Byrd Bob and Julie Connors Saundra Dombey Cooke Cindy and John Deliman Lindsey and Kevin Dunleavy Cornelia Ferguson Robin and Larry Garvin Barbara and Gary Giller Patricia Hadler Joshua and Brandy Hill

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Ann and James A. Jones Ira and Debby Kane Mariko Kaneda Joyce and Willem Kogeler Mary Pat Martin and Rick Livingston Jane McMaster Susan C. Meiling Christine and Kirk Merritt Larry and Peg Neal Sue Porter and Mike Sayre Neal Hauschild and Jeff Ramm Patrick Ross Paulette Schmidt William Severns Caitlin Sherman and Vineeth Sukrithan Judi and James Stillwell Ed and Nancy Strause Fund at The Columbus Foundation Sergio and Katisha Tostado Mary and Will Vorys Adam Wagenbach and Kathleen Murphy Anonymous Support from Foundations Lewin Family/Hamilton Parker Foundation OVERTURE $250 - $499 Gifts from Individuals Diane and Ted Armbruster Steve Bigley and Becky Roeder Constance Bodiker Katherine Borst Jones David and Susan Carr Janet Chen and Rick Buchanan Todd Clark Vivian Witkind Davis Dixie Sayre Miller Fund of The Columbus Foundation Mabel Freeman Nick and Debbie Geldis The Lawrence L. German Family Foundation at The Columbus Foundation David S. Guion Ruth Guzner Herbert and Melissa Hedden Vincent and Gayle Herried Deborah and Douglas King Jeff Kipnis Douglas Klamfoth

Maryline and John Kulewicz Ursula and Wolfgang Kunze Anne LaPidus Warren and Dai-Wei Lo Katherine and Yung-Chen Lu Robert Maier Mark L. Miller Dan and Kathy Moore Karen and Neil Moss Elizabeth and Kulu Moyo Harry and Sue Pukay-Martin Stacie and Mark Sholl Carl Smallwood Amina and Dino Smajlovic Kitty and James Soldano Betsy and Charles Warner Cynthia M. Whitacre Ella Uretsky Debbie and John Urton Leslie Yenkin and Jonathan Petuchowski Anonymous SPECIAL GIFTS In Memory of Dana Navin Schultz Emily J. Prieto In Memory of Alfred B. Strickler, Jr. The Strickler Family Fund of The Columbus Foundation PRELUDE $100 - $249 Gifts from Individuals Mary Ann Abrams Randy Applegate Paul Beck Leo and Karen Benedict Carole Bockey Andrew Boy and Kristen Forbriger Alan Carter Carol Chaitkin Willkie Cirker and Sharon Hamersley Carol and Robert Clark Peter Coccia and Nena Couch Karen Cohn Dale Cook Dan and Christie Crane Beth Crane and Richard McKee Russell Crouse Betsy and Nick DeFusco Jessica M. DiCerbo Kristy Etling

Toba Feldman Gary Flach Karen and Ben Freudenreich Ellin Gafford Laura and Eric Geil Nelson and Carole Genshaft Linda Fedak and Blake Getson Mike and Harriet Hadra William and Mary Heck David Hedgecoth Janet Howie Brandy and Thomas Jemczura Bruce Jensen Jennifer King Gale and Steve Klayman Andrew Klein Katie Kuvin Beverley Ervine and Boyce Lancaster Dr. and Mrs. Douglas Levin Syd Lifshin Tim and Barbara Lloyd Philip Lortz Tom and Kathy Ludlam Jennifer and William Markovich Charles Nekvasil Julia Noulin-Merat Martha Owens Carolyn Patterson Barbara and Paul Poplis Steven Rendina and Judy Fasone Jerry Friedman and Julie Robbins Jennifer Ross Gary and Ellen Schwarzmueller Marcia Katz Slotnick Ron, Austen, and Grace Smith Jeannie Sperling and Dr. Sam Kiner Stephen G. Straw Laura Troup Stephen and Chris Webster Michael and Denise Wible Margie and Thomas Williams This list includes contributions made to ProMusica for the period of July 1, 2022 to June 30, 2023. 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. 2 0 2 3 - 2 4 S E A S O N | promusicacolumbus.org

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 2022-2023 giving year (July 1, 2022 – June 30, 2023). In Honor of John Brownley Mary Cusick and Dave Wible

In Honor of Jessica Davis Jeff and Linda Davis

In Honor of Matt Kurk Kimberlee Goodman

In Memory of James Buchanan Columbus Metropolitan Club John and Cynthia Carter The Chen Family Jim Elliot and John Behal Beverley Ervine and Boyce Lancaster Tom Evans Jeff George, Chas Sabatine & Family Barbara Goettler Robin Hoffman Dusica Korda-Sparks Peggy Lazarus The Markus Family Susan Quintenz Chris and Jane Scott Mark Susi Mary Yerina and Bob Redfield

In Honor of Lynn Elliot Jill Levy

In Memory of Barbara Lambert David Lambert

In Honor of Stephen Fechtor Amy Thompson

In Honor of Marc Moskovitz Nancy Buchanan

In Memory of Anne Fornshell Carla Chila Amy, Steve, and Alex Cohen Families of Columbus Academy Class of 2023 Mr. and Mrs. Robert M. Eversole Matthew Fornshell Frazier Financial Advisors LLC Greg Gorospe and Kelley Griesmer Janice Hitzeman Ronda Hobart James Horkey Melanie, Howard, and Samantha Kook Deborah Price Peggy Richardson Sage Creek Homeowners Association Tara and Marc Sciscoe Cynthia Snyder Catherine Strauss

In Memory of Maxine McLeod Lisa and Michael Maggard

In Honor of Dick and Yvonne Burry Rod and Ann Swearingen In Memory of Kathleen D. Cayward The LaDu Family In Honor of Janet Chen Nancy Buchanan Laurie and Thomas Hill Carol McGuire In Memory of Ida Copenhaver Molly and Brian Snell In Memory of Robert A. Cummings Craig Studer In Honor of David Danzmayr Annegreth T. Nill and Bruce C. Posey

In Honor of Dr. James Ginter Mabel Freeman

In Memory of Lucy McKewen Porter Beth Grimes-Flood and Tom Flood In Memory of Betty Sawyers ProMusica Sustaining Board In Memory of Elizabeth Stewart ProMusica Sustaining Board In Memory of Bernice White Chuck White In Honor of Mary Yerina and Bob Redfield Donna Cavell For more information on making a perpetual gift to the ProMusica Endowment Fund, please contact the ProMusica Development Office at 614.464.0066 ext. 104.

In Memory of Larry Herman Retta and Elliot Slotnick In Honor of Suzanne Karpus Susan Quintenz

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Play Us Forward Donors ProMusica thanks the following who have generously donated an instrument or contributed to help fund our “Play Us Forward” outreach program. Support for “Play Us Forward” helps provide musical instruments, instruction, and enrichment activities to more than 100 middle-schoolers at no cost to students or their families. If you wish to participate to ensure the program’s sustainability, please visit promusicacolumbus.org or contact 614.464.0066 for more information. Thank you for making musical opportunities possible for the youth in our community! Contributions listed were received for the 2022-2023 school year.

INDIVIDUALS Randy Applegate Robin Brown Robert Byrd Georgeann Corey Amy Thompson and Stephen Fechtor Russell Fling Katie and Jake Gibson Lee Anthony Glass Steven Hillyer Susanne Jaffe Michael Jones and Jody Croley Jones Lorena Lons Paula O'Reilly Lucy and Phil Parsons Lisa Reaves Claire Rothchild Christine Shih Jennifer and Daniel Shively Cathy Steffen Wanda Tepper Vic Toney Emily Vallo Akane Vongchucherd

SUPPORT FROM CORPORATIONS & FOUNDATIONS: CoverMyMeds LLC Ingram-White Castle Foundation The Hattie and Robert Lazarus Fund of The Columbus Foundation Ohio Arts Council ProMusica Sustaining Board

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2023 Soirée Sponsors and Patrons Please help us thank the following corporations and individuals for their generous support of our 44th season benefit and concert. PRESENTING SPONORS PNC Bank The COR Group of UBS Financial Services GOLD SPONSORS The Kridler Family BakerHostetler Fifth Third Bank Jim Ginter Huntington Bank Ice Miller LLP Jones Day Joan Herbers The Pink Witches Porter, Wright, Morris & Arthur LLP Lee Shackelford treetree Vorys, Sater, Seymour and Pease LLP The Westin Great Southern Columbus Mary Yerina and Bob Redfield SILVER SPONSORS Janet Chen and Rick Buchanan CI Budros Ruhlin Roe Private Wealth Ologie | William and Wendy Faust Crane Group Kegler, Brown, Hill & Ritter BRONZE SPONSORS George Barrett Deborah Neimeth Mary and Tom Katzenmeyer Christine and Meri Kullberg Mike Jones and Jody Croley Jones Kathy Sullivan Susan Restrepo and Patrick Schlembach Sue and Mark Real S.A. & E.K. Douglas and G. Maloney & B. Petruzzella

PLATINUM PATRONS Lavea Brachman and Andrew O. Smith Yvonne and Dick Burry Michael Burton Don Caudy Lynn Elliott and John Brownley Marilu and Tim Faber Betsy and Jack Farrar Stephen Fechtor and Amy Thompson Michael Flamm Irvin Public Relations Alisa and Artie Isaac Steve Keyes and Lauren Bonfield Donna Laidlaw Mary Lazarus Peggy Lazarus Barry Liss Susan and Bill McDonough Susan and Ken Quintenz Lee Shackelford Miriam and Bernie Yenkin PATRONS Milt and Julia Baughman Sally and Roger Baughman Jim and Traci Blair Jim and Susan Budros Donna Cavell David and Sarah Clubb Darci Congrove and Chris Hune Dale Cook Mark and Mindy Corna Keith Dufrane Lindsey and Kevin Dunleavy Pat and Laura Ecklar Jim Elliott and John Behal Erin Hassett and Kenneth Coverdill

Steven Hillyer Suzanne Karpus Helen Liebman and Tom Battenberg Laura MacDonald and Kirk Fisher Lisa and Michael Maggard Mary Pat Martin and Rick Livingston Sally McDonald McGann Media Group Jessica Mrowzinski Thom O’Reilly Michelle Owens and Bryan Johnson Deborah Raita Julie and Bob Rutter Stephen and Deborah Ryan Hugh Schultz Caitlin Sherman and Vineeth Sukrithan Gail Walter and Allen Proctor Jayne Wenner and Peter Costanza Cynthia Whitacre Vivian Witkind Davis Serie and David Zimmerman DONATIONS Deborah Anderson Ann Brace Margo Olson Lenore Schottenstein Mark and Stacie Sholl Sadie and Seyman Stern

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IN-KIND DONATIONS Flower day-ze RAFFLE PRIZE DONATIONS American Electric Power Chapman’s Eat Market Huntington The Laundry Elizabeth and Kulu Moyo Ologie Park Lane Hotel Porter, Wright, Morris & Arthur LLP ProMusica Chamber Orchestra Board of Trustees Bob Redfield The Refectory Restaurant & Bistro Susan Restrepo Lee Shackelford Tiffany & Co. Together & Company Vorys, Sater, Seymour and Pease LLP MEDIA SPONSOR WOSU Classical 101

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

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