ProMusica | March - May 2023 Program Book

Excellence

The COR Group proudly supports ProMusica Chamber Orchestra

The COR Investment Group

UBS Financial Services Inc.

5007 Horizons Drive Columbus, OH 43220

614-460-6552

800-421-6172 toll free

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Brent G. Coakley, CFP®

Senior Vice President–Wealth Management

Thomas P. Reusser, CFP®

Senior Vice President–Wealth Management

As a firm providing wealth management services to clients, UBS Financial Services Inc. offers investment advisory services in its capacity as an SEC-registered investment adviser and brokerage services in its capacity as an SEC-registered broker-dealer. Investment advisory services and brokerage services are separate and distinct, differ in material ways and are governed by different laws and separate arrangements. It is important that you understand the ways in which we conduct business, and that you carefully read the agreements and disclosures that we provide to you about the products or services we offer. For more information, please review the client relationship summary provided at ubs.com/relationshipsummary, or ask your UBS Financial Advisor for a copy. Certified Financial Planner Board of Standards, Inc. owns the certification marks CFP® , Certified finanCial PlannerTM and federally registered CFP (with flame design) in the US, which it awards to individuals who successfully complete CFP Board’s initial and ongoing certification requirements. © UBS 2022. All rights reserved. UBS Financial Services Inc. is a subsidiary of UBS AG. Member FINRA/SIPC. CJ-UBS-1291789646 Exp.: 08/31/2023

From the Tom Battenberg & Helen Liebman Chair

Chief Executive Officer

Welcome to our 2022-23 season!

We have programmed beloved audience favorites including Beethoven’s Fifth Symphony and Handel’s majestic Messiah – reuniting with the LancasterChorale and four spectacular soloists. Our popular NAKED CLASSICS returns after a three-year hiatus, hosted by our longtime friend Paul Rissmann. Together, we will discover new works by composers Unsuk Chin and Reza Vali; and Noah Bendix-Balgley, concertmaster of the esteemed Berlin Philharmonic joins us as Composer/Performer performing his Klezmer Concerto. Exciting artists including Kian Soltani and Janice Carissa will make their debut with ProMusica, whose artistry will create new friendships with the orchestra. Postponed in 2020 due to the pandemic, we are thrilled to finally feature Grammy award winning artist Caroline Shaw, the youngest composer to win the Pulitzer Prize at age 30, alongside a powerful performance of Brahms’ magnificent Symphony No. 1 to conclude our 44th season.

Emerging out of two long and complex years, one thing remains clear – that life is richer when we gather as a community and experience these musical moments together. We invite you to join us all year long and be transformed through musical dialogue and reflection.

Thank you for sharing your evening with us.

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. 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 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 named 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 and has been featured in Columbus CEO Magazine and The Columbus Dispatch. Janet serves on the Boards of the Experience Columbus, Columbus Music Commission, and CreativeOhio, and is a member of the Columbus Cultural Leadership Consortium.

Janet 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 CollegeConservatory of Music. Prior to joining ProMusica, she was a member of the Taipei Symphony Orchestra in Taipei, Taiwan, and spent two summers as a flute instructor at the Interlochen Center for the Arts in Michigan.

Photo: Shellee Fisher Photography & Design for WELD

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.

keglerbrown.com

Director

David Danzmayr

“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

Photo: Rick Buchanan Photography

The Elizabeth M. Ross Music

“The performance was an unmitigated triumph.”

Michael Tumelty, The Herald

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 awardwinning recordings exclusively 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 Orchestre de la Suisse Romande; 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, Grant Park, Colmar and the North Shore Chamber Music Festival, he has founded in 2011.

Highlights of the current season include performances with the Chicago Symphony, Orpheus Chamber Orchestra, NDR Elbphilharmonie Orchestra, Stuttgart Philharmonic, KBS and Singapore Symphony Orchestras, as well as concerts at Ravinia, Aspen, Blossom, Domaine Forget and Kronberg Festivals. Mr. Gluzman also 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 upcoming seasons he will introduce new violin concerto by ErkkiSven Tüür with Oregon Symphony, HR Frankfurt Radio Orchestra and Gothenburg Symphony.

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.

Photo: Marco Borggreve

Creative Partner & Principal Guest Artist

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 9:00am-5:00pm, Monday-Friday, 620 East Broad Street, Suite 300

About the Orchestra

OUR MISSION

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

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

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

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 .

WISHING YOU A FANTASTIC SEASON, PROMUSICA!

Board of Trustees and Administration

OFFICERS

President Bob Redfield, Civic Leader

Past-President William Faust, Ologie

Vice-President

Lavea Brachman, Brookings Institution

Vice-President Matthew Fornshell, Ice Miller LLP

Vice-President Susan Lubow, BakerHostetler

Vice-President Todd Swatsler, Partner (retired), Jones Day

Treasurer Elizabeth Turrell Farrar, Vorys, Sater, Seymour & Pease LLP

Secretary

TRUSTEES

Maceo Bates, PNC Bank

Jessica Mrowzinski, Worthington Industries

Lynn Elliott, Columbus Window Cleaning

Adam Ferguson, Huntington Bank

Patricio Garavito, Cardinal Health

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

John Pellegrino, ProMusica Musician Representative

Susan Quintenz, Civic Leader

Susan Restrepo, Ohio Department of Development

Jennifer Ross, ProMusica Musician Representative

Julie A. Rutter, American Electric Power

Lee Shackelford, Physician

Mark Sholl, Hilliard City Schools

Sergio Tostado, Jones Day

+ Executive Committee Member

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

The Tom Battenberg & Helen Liebman Chair

David Danzmayr Music Director

The Elizabeth M. Ross Music Director

Vadim Gluzman Creative Partner & Principal Guest Artist

Mayra Aburto Executive Assistant & Special Projects Manager

Lauren Blair Interim Education & Community Programs Coordinator

Yvette Boyer Finance Manager

Carolyn Jakubczak Ticketing & Patron Services Manager

Suzanne Jennison Orchestra & Operations Manager

Matthew Kurk Director of Advancement & Engagement

Brittany Lockman Director of Marketing

Jade Robertson Production Assistant

Mariana Szalaj Music Librarian

The Regie & David Powell Chair

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

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

Laurie Schmidt-Moats

Vice President

Marquell Segelken Secretary

Michael Maggard Treasurer

PAST PRESIDENT ADVISORS

Claudia Abrams

Yvonne Burry

Donna Laidlaw

Bob Redfield

Mary Yerina

APPOINTMENTS

Mary Oellermann and Laurie Schmidt-Moats

Culinary Capers XXIX

Paul George Electronic Services

Melissa Schmidt

Historian

Lisa Maggard and Judy

Michaelson Marketing

Donna Cavell and Jennifer Markovich

Membership

Lisa Maggard Newsletter

Yvonne Burry

Nominating

Marianne Mottley

Special Events

Rose Hume Sunshine

MEMBERS-AT-LARGE

Sally Baughman

Nancy Brownell

Beverley Ervine

Barbara Goettler

Steven Hillyer

Boyce Lancaster

Barry Liss

Thom O’Reilly

Lee Shackelford

Dyann Wesp

CONCERTMASTER MEMBERS

Claudia Abrams

Sally Baughman

Richard Burry

Yvonne Heather Burry

Mark Butler*

Sandy Byers

Harriet Donaldson

Ellen Kay Douglas

Beverley Ervine

Betty Giammar

Beth Grimes-Flood

Laurie Hill

Steven Hillyer

Jody Croley Jones

Michael Jones

Sharon Kokot*

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

Robert Rutter*

Melissa Schmidt

Laurie Schmidt-Moats

Lee Shackelford

Sallie Sherman

Beth Stafa*

Stephanie Stephenson

Elizabeth Williams

Robert Wing

Miriam Yenkin

Mary Yerina

PRINCIPAL MEMBERS

Kim Bingle*

Nancy Brownell

Donna Cavell

Janet Chen

Marilee Chinnici-Zuercher

Maggie Cunningham

Barbara Elliott*

Lynn Elliott

Elizabeth Turrell Farrar

Marion Fisher

Barbara Goettler

D . Jean Hester*

Rose Hume

Kathy Ludlum

Andrew Maggard

Michael Maggard

Marybeth McDonald

Susan McDonough

Jane McMaster

Hugh Schultz

Gail Walter

Dyann Wesp

Margie Williams

Becky Wright

Serie Zimmerman

MUSICIAN MEMBERS

Edward Badger*

Carole Gleason Bockey*

Kristen Reynolds Bond*

Ellen Bowden

Lindsey Dunleavy

Mary Faure

Ellen George

Paul George

Sue Gross

Elayne Gunder

Linda Kurtz

Cindy Mackin

Judith Korn Oppenheimer*

Anne Powell Riley

Marquell Segelken

Ellen Yen*

* 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.

300+ lawyers in Columbus & other offices

ProMusica’s Composer/ Performer Project

ProMusica Chamber

Orchestra’s longstanding commitment to the performance of new music and supporting the work of living composers is demonstrated with 68 commissions and over 120 premieres to our credit.

Music Director David Danzmayr’s initiative, our Composer/ Performer Project, has played a significant role in our broader goal to connect audiences to composers—not just masters of the past such as Beethoven and Mozart—but to the living musicians and artists of today . The entire life cycle of a new work is reflected: from creation, to development, to a premiere performance .

This project is an effort to showcase today’s composers as not only creators of work, but soloists in their own right . While there was a time when this idea might not have seemed so novel (for example during the time that Mozart lived), ProMusica offers audiences a new and fresh perspective on living composers

The Composer/Performer Project launched in April of 2014 and has since featured Lera Auerbach, Huw Watkins, Joshua Roman, Conrad Tao, Gabriela Montero, Richard Scofano, and Xavier Foley This season, we welcome two composer/ performers to the Southern Theatre stage including Noah Bendix-Balgley and Caroline Shaw .

March Guest Artist

Noah BendixBalgley

Noah Bendix-Balgley enjoys a wide-ranging musical life as a violinist. He is First Concertmaster of the Berliner Philharmoniker and tours both as a chamber musician and as a soloist. His clear and heartfelt personal sound has reached and moved listeners around the world.

In the 2022/23 season, Noah makes his concerto debut at Carnegie Hall, performing as the featured soloist of the Berliner Philharmoniker USA tour under the direction of Kirill Petrenko. The season also features debuts with the Baltimore Symphony Orchestra and ProMusica Chamber Orchestra, as well as a return to the Pittsburgh Symphony Orchestra, where he was concertmaster from 2011 to 2015.

As soloist, Noah appears frequently with leading international orchestras, as well as in recital at the world’s finest halls. Recent highlights include concerto appearances with the Philharmonic Orchestras of Berlin, Dresden, Auckland, Nagoya, and Oklahoma City. He has also performed with the Verbier Festival Chamber Orchestra and the Symphony Orchestras of Utah, Pittsburgh, Quebec, Shanghai, and Guangzhou. He has toured with Apollo’s Fire Orchestra performing on period instruments, performed the Brahms Double Concerto with Alisa Weilerstein and the Aspen Music Festival Orchestra, toured with the Stuttgart Chamber Orchestra, and given recitals at the Philharmonie Berlin, Beethoven-Haus Bonn, the National Forum of Music in Wrocław, and the National Concert Hall in Taipei.

Noah is a renowned performer of traditional klezmer music, a musical style that has been part of his life since an early age. He has performed with celebrated klezmer groups, such as Brave Old World, and has taught at many klezmer workshops. In 2016, Noah composed and premiered his own klezmer violin concerto, Fidl-Fantazye, with the Pittsburgh Symphony Orchestra conducted by Manfred Honeck. In November 2021, he premiered the chamber orchestra version of FidlFantazye with the Kammerakademie Potsdam, and in April of 2023, he will perform his klezmer concerto with members of the Berliner Philharmoniker at a ‘Late Night’ concert at the Philharmonie Berlin.

A passionate chamber musician, Noah performs in several ensembles: in a trio with pianist Robert Levin and cellist Peter Wiley, with the Rosamunde String Quartet that includes members of the Los Angeles and New York Philharmonics, and with the multigenre septet Philharmonix, which features members of both the Berlin and Vienna Philharmonic Orchestras. Philharmonix tours worldwide, has an ongoing multi-year residency at Vienna’s Konzerthaus, and in 2022 released its third album on Deutsche Grammophon. Noah’s other recent chamber highlights include performances at the Seattle Music Festival, Bergen International Festival, Sarasota Music Festival, ChamberFest Cleveland, Zermatt Music Festival, and the Le Pont Festival in Japan.

Born in Asheville, North Carolina, Noah began playing the violin at age 4. At age 9, he played for Lord Yehudi Menuhin. He graduated from the Indiana University Jacobs School of Music and the Munich Hochschule. His principal mentors were Mauricio Fuks, Christoph Poppen and Ana Chumachenco. A laureate of the 2009 Queen Elisabeth Competition, he also won top prizes at the Long-Thibaud Competition in France and the Postacchini Competition in Italy.

Now a gifted educator himself, Noah teaches at the Karajan Academy of the Berliner Philharmoniker. He has served on the juries of the Menuhin Competition, the Indianapolis International Violin Competition, and as chair of the violin jury at the the Carl Nielsen Competition. He has given master classes at his alma mater Indiana University, and at academies around the world including Morningside Music Bridge, Domaine Forget, the Australian National Academy of Music, and the Shanghai Orchestra Academy.

DAVID DANZMAYR

THE ELIZABETH M. ROSS MUSIC DIRECTOR

VIOLINS

Katherine McLin, concertmaster

The Donald G. Dunn 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 Elizabeth Williams Chair

VIOLAS

**Brett Allen

The Keith F. & Katherine B. Dufrane Trust Chair

Stephen Goist

The Regie & David Powell 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 Chair

Cora Kuyvenhoven

The Bob & Mary Frances

Restrepo Chair

BASSES

John Pellegrino, principal

The John F. Brownley Chair

Patrick Bilanchone*

The Kathryn D. Sullivan Chair

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

The 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

Vacant

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 Michael & Jody Croley Jones Chair

Rajesh Prasad

The Bob Redfield & Mary Yerina Chair

HARP

Jeanne Norton, principal

The Sustaining Board Chair

HARPSICHORD

Aya Hamada, principal

The ProMusica Board Chair in memory of Ida Copenhaver

ASSISTING MUSICIANS

Ian Zook horn

Andrew Jeng trumpet

Suzanne Newcomb piano

Ling Ling Huang violin

Shannon Lock violin

Yael Senamaud viola

Carrie Fischer viola

Boris Astafiev bass

Matthew Zory bass

ORCHESTRA MANAGER

Suzanne Jennison

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

*On leave for the 2022-23 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.

CLASSICAL & KLEZMER

Noah Bendix-Balgley, violin & composer

David Danzmayr, conductor

Southern Theatre // Saturday, March 4 // 7:00 PM

Southern Theatre // Sunday, March 5 // 7:00 PM

MOZART Symphony No. 1 in E-flat Major, K. 16

I. Molto allegro

II. Andante

III. Presto

BENDIX-BALGLEY Fidl Fantazye: A Klezmer Concerto

(Orchestration by Samuel Adler)

I. Khosidl – Doina – Balkan Dance: Sam’s Syrtos

II. Doina – Nign (song) – Hora

III. Doina – Freylekhs

Noah Bendix-Balgley, violin

Intermission Intermission lasts 15 minutes

MOZART Symphony No. 41 in C Major, K. 551, “Jupiter”

I. Allegro vivace

II. Andante cantabile

III. Menuetto: Allegretto – Trio

IV. Molto allegro

Noah Bendix-Balgley’s appearance is made possible by the Marzella Family .

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

MARCH: About the Music

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

Wolfgang Amadeus Mozart (1756-1791):

Symphony No. 1 in E-flat Major, K. 16

Instrumentation: Scored for two oboes, two horns and strings

Composed: 1764

Duration: 11 minutes

Ask most people where Mozart wrote his first symphony and they’ll likely guess Salzburg, the city of his birth and where his formative years were spent, or perhaps Munich or Vienna, among those cities where his folks exhibited his prodigious talents beginning at the age of six . Mozart’s First Symphony, however, was penned in London, by a boy of eight, who had by this time done very little by way of composing . What he had done, however, was listen, not only to his domineering father and his own impressive violin and piano playing, but to other composers . These included, above all others, Johann Christian Bach, among the many sons of J .S . Bach, and who was living and working in London when the Mozarts dropped in on the English capital during a grand tour

Known as the “London Bach,” Johann Christian had come to England by way of Italy, where he had adopted the Italian style Among other aspects, the Italians had demonstrated a keen attention to melody and were instrumental in attaching the three-movement architecture (slow-fast-slow) to the fledgling symphony, a genre still in its early stages of development . At any rate, we know that at court Mozart played keyboard duets with Christian Bach (who served as the queen’s music master), arranged some of his music and when the Mozarts left town, they took a Christian Bach manuscript along for the ride In sum, after Mozart’s father, Christian Bach probably exerted the single greatest influence on massively talented and musically hungry young Wolfy

Listening to this eleven-minute work, we need to keep several things in mind First, this was one of Mozart’s first real compositions, so he had a long way to go before any of his own real fingerprints made their way into his compositions . There is little by way of any true musical development and much of the writing is derivative, relying for example on the charm of attractive chord progressions Still, if one listens carefully to the sustained, lyrical phrases, one can hear vestiges of the sublime writing to come a few years down the road . As stated above, this early symphony reflects more the influence of others than any real attempt for Mozart to find his own way, and once he did, Mozart became the model for others to emulate, at least until he attained the perfection that no one could hope to emulate! But for the moment, remember that this is a product of an eight-year-old who clearly didn’t have Matchbox Cars with which to occupy his free time . Enough said .

FROM THE COMPOSER:

Noah Bendix-Balgley (b. 1984): Fidl Fantazye: A Klezmer Concerto (for Violin and Chamber Orchestra)

Instrumentation: Scored for flute, oboe, clarinet, bassoon, horn, trumpet, percussion, piano and strings

Composed: 2016

Duration: 22 minutes

I grew up around klezmer music and it had a significant influence on my musical upbringing My father, Erik Bendix, is a dance teacher who specializes in Eastern European folk dancing . He is an expert on Yiddish dance, so as a child I often listened to recordings of klezmer music or heard live bands play at workshops and festivals where my father taught I began picking up klezmer tunes shortly after I had started playing the violin . I then was lucky to learn from great klezmer musicians such as Michael Alpert and Alan Bern of Brave Old World and Alicia Svigals of The Klezmatics To this day, playing klezmer music is a wonderful counterweight to my classical playing, since it allows the performer to improvise and embellish on the spot . Developing this freedom helps me play with greater flexibility and imagination within the stricter structures of classical repertoire Klezmer music is vividly emotional, ranging from deeply mourning improvisations to the irresistible drive of its fast dance music .

The idea of a klezmer violin concerto was one I had for a while since I was looking for a virtuoso piece in the klezmer style to play with orchestra . My original thought was to commission the work from another composer, but I was encouraged by my father, by Manfred Honeck, and by Michael Alpert to write the work myself I am thankful to them for this suggestion I decided to write a virtuosic violin fantasy accompanied by full orchestra . I am extremely grateful that the wonderful composer Samuel Adler agreed to orchestrate the piece for me, realizing a full version of the violin and piano score that I composed

My first question when composing was whether to use existing traditional klezmer melodies or to compose my own . I decided to compose my own tunes in the style of traditional ones I have learned over the years

The piece is constructed in three movements that are played without pause . Each movement is a medley of different dances After a short orchestral introduction, the violin enters alone, playing a simple Khosidl tune A Khosidl is a slow and heavy line dance in the old Hassidic style The violin soon plays duets with various other solo instruments, presenting the tune in virtuosic style . This is followed by a Doina, a Romanian-style improvisation over of a held harmony, the first of three Doina sections in the piece that serve as transitions . The melody of the next section uses my musical translation of the name Samuel: E-flat (eS in German), A, E-natural (Mi in solfege), C (Ut in solfege), E, A (La in solfege) My middle name is Samuel, and I was named after my great-grandfather, Samuel Leventhal, who was a violinist . Like me, he went to Germany to study violin, and following his studies joined the Pittsburgh Symphony . He was later concertmaster of the Hartford Symphony . Because of my connection with him as well as the happy coincidence that Samuel Adler is the orchestrator of this work, the musical version of the name felt like a nice dual homage . It appears throughout the work in different forms . Sam's Syrtos at the end of the first movement is a dance in mixed meter (7/8) and refers to the Syrtos music of the Greek islands that was absorbed into klezmer music under the name Terkisher, or ‘in the Turkish style’, Greece having long ago been under Ottoman Turkish rule .

The second movement opens with another Doina that features a duet with solo viola This leads to a slow Nigun or Lid, a wordless song which then becomes a Hora, a slow dance in three . Here I incorporate small quotes from Mahler's 5th Symphony . Gustav Mahler incorporated klezmer tunes and elements into a number of his works (most famously in the 3rd movement of the 1st symphony) Here my quotations of his melodies came from the question: what if the classical melodies in Mahler’s 5th symphony had been in-spired by klezmer tunes? What would those tunes have sounded like? So, in the 2nd movement of the Fantazye, I incorporated some Mahler into a version of Hora, and wove more Mahler into my version of Freylekhs

The third movement is an extended medley of fast tunes, alternating between full orchestra and smaller ensembles within the orchestra Throughout I wanted the solo violin to trade off tunes with individual members of the orchestra . At the end, the full orchestra joins in, with a wild race to the finish

W.A. Mozart: Symphony No. 41 in C Major, “Jupiter,” K. 551

Instrumentation: Scored for flute, pairs of oboes, bassoons, horns and trumpets, timpani and strings

Composed: 1788

Duration: 29 minutes

In August of 1788, twenty-four years after writing the jejune symphony heard earlier this evening, Mozart recorded in his logbook the completion of what was his latest symphony, a towering work in C major . He may not have known it was his 41st, as he probably had lost count of some of his early works along the way—if he were alive today, he might actually wonder why such juvenile compositions were even being performed!—and certainly he wouldn’t have known it would be his last . Still, Mozart was no doubt aware that he was working at the height of his powers What would become known as the “Jupiter” —a nickname probably coined by Peter Salomon, the impresario who would bring Haydn to London a few years later—was the third symphony of a set Mozart dashed off during the summer months, although the precise motivation for their composition remains a mystery

Mozart had by now long outgrown his status as a child prodigy and so had to hustle like any other composer of the day to find work . Nor was it a happy time for the composer, who had moved to the suburbs of Vienna, theoretically to reduce his expenses . Here he was soon reduced to begging for money from friends Indeed, at the start of the summer, while working on this last set of symphonies (in addition to piano trios and sonatas for piano and violin), he wrote his friend Michael Puchberg,

I have now opened my whole heart to you in a manner which is of the utmost importance to me; that is, I have acted as a true brother. But it is only with a true brother that one can be perfectly frank. And now I look forward eagerly to your reply, which I do hope will be favorable . . . I take you to be a man who ... will like myself certainly assist a friend, if he be a true friend, or his brother, if he be indeed a brother.

Mozart’s successive letters become increasingly desperate and to Puchberg’s credit he came through, loaning the composer a total of some 1400 florins . Historians have also pointed out that Mozart’s straits may not have been as dire as he made them out to be . His suburban apartment, for instance, which cost him a not insignificant 250 florins a year, was actually quite spacious, and during this time he also kept a carriage and horses . Nevertheless, Mozart could no longer rely on sheer talent to get by and over the next few years we see him traveling elsewhere in the effort to find work when opportunities in Vienna had all but dried up And while the movie Amadeus is as much fiction as fact, there is no doubt that his final months were pitiful ones .

True to Mozart’s nature, none of this is evident in his 41st Symphony, for it rises above all earthly cares or concerns And equally true to his nature, the work is regarded by many as the epitome of what the symphony had become— as with opera, concertos and pretty much everything else Mozart composed, he brought the genre to unparalleled heights Expanded from three to four movements to include a courtly Minuet, and lasting upwards of thirty minutes, Mozart has developed the uncanny ability to transform even the most innocuous sounding ideas into something grand, spacious, and dramatic One need only follow the course of the three stubborn C’s at the outset of this symphony as a point in fact Mozart’s other miracles are too numerous to trace here save the conclusion of the symphony, the final minute of which must be acknowledged as among the most stunning bars in the literature . See if you can follow his virtuosic handling of the finale’s five themes, which he effortlessly weaves together in a five-voice fugato . Given what he accomplished, he may well have believed there was no reason to compose another symphony Mozart had indeed learned a few things since those early days in London!

© Marc Moskovitz www.marcmoskovitz.com

The NEW

Timashev Family

Music Building is now open!

Part of the 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. Hear us live — our concerts are free. Visit music.osu.edu

Proud to Play a Supporting Role

in the ProMusica Chamber Orchestra.

April Guest Artist

Janice Carissa

A Gilmore Young Artist and winner of Salon de Virtuosi, Janice Carissa has “the multicolored highlights of a mature pianist“ (The Philadelphia Inquirer) and “strong, sure hands” (Voice of America) that “conveys a vivid story rather than a mere showpiece.” (Chicago Classical Review) She has garnered great acclaims at renowned concert halls, including the Sydney Opera House, Carnegie Hall, United Nations, Kennedy Center, Jay Pritzker Pavilion in Millennium Park, Louis Vuitton Foundation, and Saratoga

Performing Arts Center.

Following her Philadelphia Orchestra debut at age sixteen, Janice has substituted for Andre Watts as soloist with Orpheus Chamber Orchestra and gone on to perform with the Kansas City, Amarillo, Des Moines, John Hopkins, St. Peter by the Sea, Symphony in C, Eastern Wind, Bay Atlantic and Midwest Young Artist symphonies. In 2023, she will be a featured soloist with Sacramento Philharmonic, ProMusica Chamber Orchestra, Curtis Symphony Orchestra, and the Tacoma and Battle Creek symphonies.

Janice’s passion for chamber music has lead her to performances with Brooklyn Chamber Music Society and Jupiter Chamber Concert Series; collaborations with Vadim Gluzman, Miriam Fried, Paul Neubauer, Lucy Shelton, Marcy Rosen, David Shifrin, Jennifer Cano, and Peter Wiley, among other distinguished musicians; and appearances at Marlboro, North Shore, Ravinia, Caramoor, and Kneisel Hall festivals.

A pupil of Gary Graffman and Robert McDonald, Janice left Indonesia in 2013 and entered the Curtis Institute of Music with full scholarship from Gerry and Marguerite Lenfest. Now graduated with a Bachelor’s Degree, she is presently pursuing her Master’s Degree at The Juilliard School with Robert McDonald. When away from the piano, Janice is an avid foodie and loves going on strolls with her camera.

DAVID DANZMAYR

THE ELIZABETH M. ROSS MUSIC DIRECTOR

VIOLINS

Katherine McLin, concertmaster

The Donald G. Dunn 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 Elizabeth Williams Chair

VIOLAS

**Brett Allen

The Keith F. & Katherine B.

Dufrane Trust Chair

Stephen Goist

The Regie & David Powell 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 Chair

Cora Kuyvenhoven

The Bob & Mary Frances Restrepo Chair

BASSES

John Pellegrino, principal

The John F. Brownley Chair

Patrick Bilanchone*

The Kathryn D. Sullivan Chair

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

The 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

Vacant

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 Michael & Jody Croley Jones Chair

Rajesh Prasad

The Bob Redfield & Mary Yerina Chair

HARP

Jeanne Norton, principal

The Sustaining Board Chair

HARPSICHORD

Aya Hamada, principal

The ProMusica Board Chair in memory of Ida Copenhaver

ASSISTING MUSICIANS

Matthew Oliphant horn

Kirstin Greenlaw violin

Shannon Lock violin

Michael Molnau viola

Matthew Zory bass

ORCHESTRA MANAGER

Suzanne Jennison

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

*On leave for the 2022-23 season

+One year appointment

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

MOZART & GOLIJOV

Vadim Gluzman, violin & leader

Janice Carissa, piano

Southern Theatre // Saturday, April 15 // 7:00 PM

Southern Theatre // Sunday, April 16 // 7:00 PM

MOZART Serenade No. 6 in D Major, K. 239, “Serenata notturna”

I. Marcia. Maestoso

II. Mennetto

III. Rondeau. Allegretto

Vadim Gluzman and Jennifer Ross, violins

Stephen Goist, viola

John Pellegrino, bass

Renee Keller, timpani

GOLIJOV The Dreams and Prayers of Isaac the Blind

Prelude: Calmo, Sospeso

I. Agitato-Con Fuoco-Maestoso-Senza Misura, Oscilante

II. Teneramente-Ruvido-Presto

III. Calmo, Sospeso-Allegro Pesante

Postlude: Lento, Liberamente

Ilya Shterenberg, clarinet

Vadim Gluzman and Katherine McLin, violins

Michael Isaac Strauss, viola

Marc Moskovitz, cello

Intermission

Intermission lasts 15 minutes

MOZART Piano Concerto No. 23 in A Major, K. 488

I. Allegro

II. Adagio

III. Allegro assai

Janice Carissa, piano

Janice Carissa’s appearance is made possible through North Shore Chamber Music Festival’s Arkady Fomin Scholarship Fund.

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

reckoned, he also played a mean violin . A year earlier he had composed five violin concertos to prove it .

About the Music

Wolfgang Amadeus Mozart (1756-1791):

Serenade No. 6 in D Major, K. 239, “Serenata notturna”

Instrumentation: Scored for two small orchestras: I: two violin soloists, viola and double bass; II: violins, viola, cello and timpani

Composed: 1776

Duration: 15 minutes

In the year 1776, Mozart was home in Salzburg, grinding it out and trying to make a living. Previous trips abroad had sadly failed to deliver hoped-for employment elsewhere so for the moment Mozart tried to make the best of a frustrating lifestyle. For the moment he desired nothing so much as to get out from under the yoke of the PrinceArchbishop of Salzburg, Hieronymus Collordeo, his humorless and demanding employer. Indeed, Mozart would resign his position the following year, hoping for greener pastures elsewhere, but for now he took work where he could find it. Beyond more serious fare, including the composition of his ninth Piano Concerto, the year 1776 saw the composition of two serenades, lighter pieces designed as background music for various events. The more significant of the two, the eight-movement “Haffner” Serenade, was written for the wedding of a member of the Haffner family which took place in July. By contrast, the purpose of the Serenata notturna, far smaller in scope, has completely escaped historians.

Given that serenades were typically intended for specific occasions, we might conclude that the odd scoring of this work, including a solo double bass and timpani, might have been inspired by whatever musicians Mozart knew he would have on hand for the event. It is also safe to assume that Mozart would have led the ensemble from the solo first violin, for besides being a virtuoso pianist and fast becoming a composer with which to be

Mozart opens his D major Serenade with a stately March, which spotlights the first violin soloist nearly from the start, while in the second section, Mozart— who possessed a biting and ribald sense of humor— jokingly plays with the timpani and pizzicato strings . If the Menuetto-proper reflects Mozart paying formal tribute to the court dance, he unbuttons his formal attire during the spirited Trio at its center . The playful concluding Rondo is filled with fermatas, pauses during which Mozart and his ensemble no doubt took turns seeing who could play the most inspired improvisations, much like members of a jazz quintet might do today . The unmistakable twinkle in Mozart’s eye is evident throughout this absolutely charming finale, a work he no doubt dashed off in short order, yet which captures the ease and genius attached to almost everything he wrote .

Osvaldo Golijov (b. 1960): The Dreams and Prayers of Isaac the Blind

Instrumentation: Scored for klezmer clarinet and string quartet

Composed: 1994

Duration: 35 minutes

ProMusica audiences are no strangers to the music of Argentine composer Osvadlo Golijov, although tonight we present his Quintet for Clarinet and String Quartet for the first time . The work is, in the composer’s words, no less than ‘epic…movements [that] sound like they are in three of the languages spoken in almost 6000 years of Jewish history: the first in Aramaic, the second in Yiddish, and the third in Hebrew .’ At its heart, Goliov’s Quintet takes as its springboard—and title— the eleventh and twelfth century Jewish mystic and kabbalist, Isaac the Blind, who believed that all facets of the universe are derived from combinations of the letters of the Hebrew alphabet .

The word ‘epic’, in fact, defines much of Golijov’s quintet, not simply in terms of the liturgical music from which it draws but also its encompassing two significant and antithetical approaches to music: that of the string quartet, which has its roots in the music of Haydn and Beethoven and is considered by many as

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

the ne plus ultra of classical writing, and Klezmer music, the instrumental music of the Ashkenazi Jews and which is at heart an improvised style emanating from the Jewish soul . Golijov’s quintet fuses these “two strong musical traditions into a single world . ”

The first movement looks to two High Holiday prayers, one taken up by the clarinet and the other assigned to the quartet . Beginning slowly and almost hypnotically (the intent is that of an accordion), the movement accelerates into a frenzied state before eventually settling back into the obsessive eighth-note figure with which it began . The second movement is a Klezmer dance, though one played by the devil . The movement, which opens with the description to be played like “a dead accordion playing by itself,” relies on a constantly changing, irregular pulse, as if the music is skipping a heartbeat . Although intensely serious music, Golijov reflected on the humorous state of the movement’s composition: “While I was composing the second movement, my father would sit out on the deck with the newspaper—the sports pages—and every once in a while he would shout, “There you go! Another Yiddish chord!”’ At its most intense, the movement fully captures the ecstatic nature of the Nigun, a wordless Jewish chant

In the third movement, the clarinet is meant to evoke a shepherd’s magic flute and the last movement—which was actually the first composed—Goljov spins out an instrumental adaptation of his K’VAKARAT, a work he had previously written for string quartet and cantor . The fact that the clarinet acts as the substitute for the human voice tells us all we need to know about that instrument’s role in the quintet as a whole .

As much of the clarinet writing is intended to evoke the improvisational world of Klezmer, Goliov has done little by way of technical indication for that instrument, leaving it up to the performer to explore the nuances of the Klezmer style . The composer’s string writing, by contrast, is highly detailed and incorporates a variety of challenging techniques and meters .

Finally, The Dreams and Prayers of Isaac the Blind lasts some 35 minutes . So, sit back and take in the entirety of Golijov’s—and Isaac’s—mystical, magical world .

W. A. Mozart: Piano Concerto No. 23 in A Major, K. 488

Instrumentation: Scored for flute, pairs of clarinets, bassoons, horns and strings

Composed: 1786

Duration: 26 minutes

The year 1786 might be regarded as a high-water mark for Mozart, who was then experiencing compositional success both at home and abroad (especially, though not exclusively, in the world of opera) . Critically, the thirty-year-old also remained highly regarded as a pianist, and although performance outlets for his music would begin to dry up within a few years, for now Mozart was flying high . That confidence is evident in every bar of his brilliant A major Piano Concerto, a work probably premiered that spring during one of several Viennese subscription concerts .

Composed in the first quarter of 1786, K . 488 provides a glimpse into the working habits of the Austrian genius . Rather than set aside everything else to focus on a work of this magnitude, Mozart was juggling several such projects simultaneously, including no less than an entire opera, The Marriage of Figaro, which was set to receive its premiere two months after the completion of this concerto . And his next piano concerto, following closely on the heels of the A major heard tonight, was completed just a week after Figaro’s successful Viennese debut! Just how Mozart managed to create so much impressive music, much less find the time to scribble it all down, is just another of the many mysteries surrounding the man . (This is not to say there wasn’t some crossover at times and in fact the brighter section at the center of this concerto’s second movement, introduced by the flute and clarinet, would be recycled in his opera Don Giovanni the following year)

Mozart all but established the blueprint for what we now think of as the piano concerto and while it’s true that others had written for keyboard and orchestra before Mozart came along, over the course of his meteoric lifetime he established any number of principles that would become the standard—and then, just as quickly, he would throw a wrench into the works . One of these wrenches comes in the

second exposition of K . 488’s first movement, known in a concerto as a double exposition: the orchestra enters before the soloist where it serves to introduce the traditional two contrasting themes heard for the rest of the movement . But in the course of Mozart’s second exposition (now with soloist) a third theme is presented for the first time . Clearly Mozart had more music in his head than he knew what to do with!

This concerto also includes a number of other curiosities including its scoring . In such settings Mozart typically included at least one and more often two oboes, yet the instrument is completely absent from this score . Instead, Mozart calls for two clarinets and these he uses to striking effect, particularly in the second movement, as mentioned above, and again in the third movement, where the clarinet interrupts the F-sharp minor middle section with a new tune in the bright key of D major This section, by the way, along with the general feel of the

moving Adagio, betrays Mozart as an opera composer to the core .

We should also keep in mind that Mozart conceived of this stirring concerto—as with all his keyboard and violin concertos—with himself as the soloist . While no record survives of the work being performed during his lifetime, we can assume Mozart was at the keyboard at its spring premiere . Unsurpassed operas, concertos, symphonies, chamber, choral and incidental music, a boy wonder and a mature compositional titan, an instrumental virtuoso, a devoted husband and father, and all within the alltoo-brief span of 35 years . The man could do it all .

© Marc Moskovitz www.marcmoskovitz.com

About the Program Notes Author Marc Moskovitz

In addition to his work as principal cellist of the ProMusica Chamber Orchestra, Marc Moskovitz collaborates frequently with various other ensembles, among them The North Carolina Symphony A former Associate Professor of The University of Toledo, Marc has been heard at the Library of Congress and the International Piatti Festival (Bergamo, Italy), and has performed with the Boston Pops and the Handel and Haydn Society of Boston, with whom he has also recorded and toured His recordings include music of cello virtuosi David Popper and Alfredo Piatti, available on the VAI label As an author, Marc has contributed to The New Grove Dictionary of Music and Musicians, written liner notes for the Naxos and Melba labels, and his program notes have appeared in English, German, Spanish and Chinese . He is author of 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

BEBE MILLER

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

#artmakescbus

CHAMPIONING ART AND ADVANCING CULTURE.

GCAC.ORG

Dancer and choreographer

Photo: Julieta Cervantes | Design: Formation Studio

Caroline Shaw

Caroline is the recipient of the 2013 Pulitzer Prize in Music, several Grammy awards, an honorary doctorate from Yale, and a Thomas J. Watson Fellowship. This year’s projects include the score to “Fleishman is in Trouble” (FX/Hulu), vocal work with Rosalía (MOTOMAMI), the score to Josephine Decker’s “The Sky Is Everywhere” (A24/Apple), music for the National Theatre’s production of “The Crucible” (dir. Lyndsey Turner), Justin Peck’s “Partita” with NY City Ballet, a new stage work “LIFE” (Gandini Juggling/Merce Cunningham Trust), the premiere of “Microfictions Vol. 3” for NY Philharmonic and Roomful of Teeth, a live orchestral score for Wu Tsang’s silent film “Moby Dick” co-composed with Andrew Yee, two albums on Nonesuch (“Evergreen” and “The Blue Hour”), the score for Helen Simoneau’s dance work “Delicate Power”, tours of Graveyards & Gardens (co-created immersive theatrical work with Vanessa Goodman), and tours with So Percussion featuring songs from “Let The Soil Play Its Simple Part” (Nonesuch), amid occasional chamber music appearances as violist (Chamber Music Society of Minnesota, La Jolla Music Society).

Caroline has written over 100 works in the last decade, for Anne Sofie von Otter, Davóne Tines, Yo Yo Ma, Renée Fleming, Dawn Upshaw, LA Phil, Philharmonia Baroque, Seattle Symphony, Cincinnati Symphony, Aizuri Quartet, The Crossing, Dover Quartet, Calidore Quartet, Brooklyn Rider, Miro Quartet, I Giardini, Ars Nova Copenhagen, Ariadne Greif, Brooklyn Youth Chorus, Britt Festival, and the Vail Dance Festival. She has contributed production to albums by Rosalía, Woodkid, and Nas.

Her work as vocalist or composer has appeared in several films, tv series, and podcasts including The Humans, Bombshell, Yellowjackets, Maid, Dark, Beyonce’s Homecoming, Tár, Dolly Parton’s America, and More Perfect. Her favorite color is yellow, and her favorite smell is rosemary.

Caroline Shaw is a musician who moves among roles, genres, and mediums, trying to imagine a world of sound that has never been heard before but has always existed. She works often in collaboration with others, as producer, composer, violinist, and vocalist.

DAVID DANZMAYR

THE ELIZABETH M. ROSS MUSIC DIRECTOR

VIOLINS

Katherine McLin, concertmaster

The Donald G. Dunn 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 Elizabeth Williams Chair

VIOLAS

**Brett Allen

The Keith F. & Katherine B. Dufrane Trust Chair

Stephen Goist

The Regie & David Powell 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 Chair

Cora Kuyvenhoven

The Bob & Mary Frances Restrepo Chair

BASSES

John Pellegrino, principal

The John F. Brownley Chair

Patrick Bilanchone*

The Kathryn D. Sullivan Chair

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

The 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

Vacant

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 Michael & Jody Croley Jones Chair

Rajesh Prasad

The Bob Redfield & Mary Yerina Chair

HARP

Jeanne Norton, principal

The Sustaining Board Chair

HARPSICHORD

Aya Hamada, principal

The ProMusica Board Chair in memory of Ida Copenhaver

ASSISTING MUSICIANS

Rose Vrbsky

contrabassoon

Matthew Oliphant

horn

Brett Hodge horn

Kelsey Williams

horn

Brad Granville

horn

Ansel Norris

trumpet

David Roode

trombone

Michael Charbel

trombone

Chad Arnow

trombone

Kara Camfield

violin

Wendy Case

violin

Kirstin Greenlaw

violin

Ling Ling Huang

violin

Shannon Lock

violin

Yael Senamaud

viola

Joseph Mueller

cello

Brendon Phelps

cello

Jim Karrer

bass

Matthew Zory

bass

ORCHESTRA MANAGER

Suzanne Jennison

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

*On leave for the 2022-23 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.

BRAHMS & SHAW

Caroline Shaw, vocalist & composer

David Danzmayr, conductor

Southern Theatre // Saturday, May 13 // 7:00 PM

Southern Theatre // Sunday, May 14 // 7:00 PM

SHAW Blueprint for String Quartet

Katherine McLin and Jennifer Ross, violins

Mary Harris, viola

Cora Kuyvenhoven, cello

SHAW Is A Rose

I. The Edge

II. And So

III. Red, Red Rose

Caroline Shaw, vocalist

SHAW Entr’acte (A Minuet & Trio)

Thema – I. Phase – II. Phase – III. Phase

Intermission

Intermission lasts 15 minutes

BRAHMS Symphony No. 1 in C Minor, Op. 68

I. Un poco sostenuto – Allegro – Meno allegro

II. Andante sostenuto

III. Un poco allegretto e grazioso

IV. Adagio – Più andante – Allegro non troppo, ma con brio – Più allegro

Supporting Sponsor:

Nakamichi Foundation

Caroline Shaw's appearance is made possible in part by support from:

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

MAY: About the Music

Caroline Shaw (b.1982):

Blueprint

Instrumentation: string quartet

Composed: 2016

Duration: approximately 7 minutes

Is a Rose

Instrumentation: strings, oboe and harpsichord

Composed: 2016-2019

Duration: 15 minutes

Entr’acte

Instrumentation: string orchestra

Composed: 2011

Duration: 12 minutes

Musicians love performing the music of North Carolina born violinist, singer, and composer Caroline Shaw because we feel she is one of us . For good reason she has amased a growing list of commissions from names like Dawn Upshaw, Renée Fleming, the Orchestra of St . Luke’s, the Dover Quartet, Brooklyn Rider and the Baltimore Symphony . The youngest musical recipient of the Pulitzer Prize (2013), Shaw is also a performer . It is perhaps this trait above all that lends her compositions such richness, for while she is carving out a unique compositional profile, she remains unafraid to demonstrate links to her musical past .

the genesis of Caroline Shaw’s Blueprint sprang from Beethoven’s Op 18 No 6, one need not know the earlier work to appreciate the sophistication of Shaw’s approach . Blueprint, a single-movement composition for string quartet, reveals its composer’s rapid-fire style, building on short ideas sometimes gently woven together and sometimes slammed head-on, like a quilt on steroids . As such, quoting from Beethoven seems a perfect fit, given the earlier composer’s penchant for exploiting short, terse motives for their dramatic potential

As a violinist and violist, Shaw got to know Beethoven’s Op . 18 quartets intimately, and like all masters of the medium, writes for the foursome as a dialogue In Blueprint, we are immediately pulled into her world, which is one of kaleidoscopic ideas, expectation, and fluidity . This seven-minute showpiece explores a wealth of colors and textures, with quickly shifting harmonies that will drop you back and forth between Beethoven’s century and our own . In Shaw’s hand, Beethoven’s music seems to gain new meaning as she draws directly from the string quartet’s rich tradition, proving that after 250 years, this tried and tested medium remains far from exhausted .

Perhaps no work better demonstrates this aspect of her work than Blueprint, a work dating from 2016 . Though

Shaw based her vocal triptych, Is a Rose, on three rosecolored songs: “The Edge,” a setting by Scotsman Jacob Polley from 2016 entitled The Rose I / Annunciation, “And So”, her own poem of 2019, and “Red, Red Rose" of Robert Burns from 1794 Shaw’s settings are pure, direct and razor sharp, with continual glances in the musical rearview mirror . The rather Impressionistic lines of Polley’s The Rose I are met with freely rhythmic vocal lines and a loving oboe solo, capped with a climax that Shaw described as “wildly ecstatic…like Corelli on Red Bull .” And So opens with reserved celestial harmonies that give way hesitatingly to a vibrant richness both strikingly modern yet reminiscent of an earlier age . Later, Shaw looks to pizzicato strings to evoke another

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

atmosphere entirely, one absorbed with time keeping, as the music again unfolds slowly before giving way to full blossom . And in the case of Red, Red Rose, Shaw’s score is tightly bound to Burns’ metric structure, its vocal lines both elegant and jagged, while the composer again evokes both a distant age and the modernist era .

Entr’acte was written in 2011 “after hearing the Brentano Quartet play Haydn’s Op . 77 No . 2 — with their spare and soulful shift to the D-flat major trio in the minuet . It is structured like a minuet and trio, riffing on that classical form but taking it a little further . I love the way some music (like the minuets of Op . 77) suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle, technicolor transition ” Again, we note 200-yearold phrasing coming up against an absolutely gripping modernist and unique vision, with whooshing effects, distant harmonics and slapping strings . Joyous one minute and mysterious the next, Shaw’s twelve-minute score is a wild time warp, one that no doubt would have dazzled and charmed the ever humorous and effectloving Papa Haydn .

Johannes Brahms (1833-1897):

Symphony No. 1 in C Minor, Op. 68

Instrumentation: pairs of flutes, oboes, clarinets, bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani and strings

Composed: 1855-76

Duration: 45 minutes

Born in Hamburg, at the age of 29, Johannes Brahms made his way to the European musical capital of Vienna and a year later, in 1863, opted to remain there permanently Although he had already established himself in Germany as a piano soloist and composer, Vienna offered possibilities unavailable elsewhere, including accessibility to a number of major musical figures (among them, the prominent critic Eduard Hanslick), a highly active and established concert life (Brahms would later serve as director of the Vienna

Gesellschaft der Musikfreunde, among the foremost of European concert societies) and a professional post, Brahms’ first, as director of the Wiener Singakademie, one of Europe’s elite choral ensembles . Of course, Vienna also provided an unrivaled connection to music’s Classical past, as dominated by the musical triumvirate of Haydn, Mozart and Beethoven, all of whom had also come to Vienna from elsewhere . For Brahms, Vienna offered an ideal setting, but for a single factor: the looming shadow of Beethoven, who had died there nearly forty years earlier

Ten years before arriving in Vienna, Brahms had been introduced to the musical world by Robert Schumann, in the latter’s musical journal Neue Zeitschrift für Musik, the New Journal of Music, as one "fated to give expression to the times in the highest and most ideal manner”:

I thought that it would and that it must be, that someone would suddenly come along whose very calling would be that which needed to be expressed according to the spirit of the times and in the most suitable manner possible, one whose mastery would not gradually unfold but, like Minerva, would spring fully armed from the head of Jupiter And now he has arrived, a young blood, at whose cradle graces and heroes kept watch . His name is Johannes Brahms…

Fearing that such praise "will arouse such extraordinary expectations by the public,” Brahms penned Schumann in response, lamenting that “I don't know how I can begin to fulfill them .” For Brahms, self-critical by nature, Schumann’s prediction only served to place an additional burden on the then 20-year-old composer, a weight he carried with him along with his physical belongings when he arrived in the Austrian capital years later . And as if to underscore the shadow that Beethoven cast upon Brahms, a bust of the older master sat on a shelf in Brahms’ music room, its gaze

literally looking down upon him as he composed . As a consequence of Brahms’ inhibitions, he wouldn’t complete his first symphony until he was 40 years of age . To be sure, by then he had established a solid reputation as a composer and amassed an impressive portfolio of work, although Brahms also consigned any number of earlier scores to the Danube River, fearing much of it unworthy . A symphony, of course, was something else entirely, as evident in the nine towering scores that Beethoven had left to posterity . Indeed, Brahms himself is reported as having said, “Composing a symphony is no laughing matter”—an understatement if ever there was one—and Brahms meant to be sure that when his First Symphony was offered up to the public, it would stand up to any comparisons (and there were sure to be many) . Consequently, what would become his 68th opus required somewhere between fourteen and, according to Brahms, twenty-one years to complete, roughly from 1855 to 1876 Its premiere took place on November 4th in Karlsruhe, under the baton of the composer’s friend, Felix Otto Dessoff . Brahms conducted the next three performances himself, first in Mannheim, then Munich Having sorted out the final details, the composer finally offered the work up to the Viennese, which he did with the Philharmonic—to a mixed reception—that December, before passing the score on to his publisher, Fritz Simrock

The First Symphony’s four-movement architecture, formal outlines, large yet classical orchestration and inner workings all point to the unmistakable influence that Viennese tradition exerted upon its composer . Unlike his other symphonies, the First opens with a broad, formal introduction before giving way to the expected sonata form Listen closely to its rhythmic contour and you’re certain to hear the four-note motive reminiscent of Beethoven’s Fifth . The Andante sostenuto, cast as a modified ternary (or three-part) A-B-A form, makes prominent use of the solo violin and principal

oboe . The Allegretto, like the Andante, is also cast in ternary form, juxtaposing a 2/4 portion (in the key of A-flat major) with a more pastoral 6/8 trio section (in B major) . The finale works through various sections— Adagio—Più andante — Allegro non troppo, ma con brio — Più allegro, opening with a brooding four-note descending motive which then gives way to an Alphorn tune, presented first ominously and later with more noble expression . The entrance of the famous “striding” tune in the regal key of C major marks the formal start of the exposition of this sonata-form movement Rather than construct a separate recapitulation, Brahms incorporated a return of earlier material in the development proper, probably with the intent of providing forward thrust The movement includes a fullblown coda and is rounded off with a pair of triumphant “plagal (“Amen”) cadences .

"You have no idea how it feels to hear behind you the tramp of a giant like Beethoven,” Brahms is reported to have lamented . And not without good reason: the C minor Symphony has often been labeled “Beethoven’s Tenth ” Perhaps Brahms needed the comparison to establish himself as both the heir to the Beethoven legacy and the figure best suited to carry such a formidable reputation forward . Regardless, the mantle of the Viennese symphonic tradition was safe, secure, and confidently established in the magnificent First, while with those that followed—all of which came far more quickly!—Brahms would distance himself from his Viennese predecessors with increasing confidence, stamping the genre with his own personal genius .

© Marc Moskovitz www.marcmoskovitz.com

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“Is A Rose” Text

I. The Edge II. And So

III. Red, Red Rose

The Edge

(Jacob Polley, 2016)

where does the grace of the moment go the wind is light the light wind beating its wings about your face as it rises where you cannot rise the loaf baked full of the fields’ light and air the honey ablaze on the knife wind with no relief in it, turning a cylinder of leaves a shadow falls into and tumbles out bright where does the grace of the moment go from the stream, a palmful of silver your life wing-beats, the long grass whipped by the light that sings off the edge of the rose where does the grace of the moment go

And So

(Caroline Shaw, 2019)

Would a song by another name sound as sweet and true Would all the reds be just the same or violets as blue

If you were gone would words still flow and would they rhyme with you If you were gone would I still know how to love and how to grow and how the vowel threads through .

And so you say the saying goes a rose is a rose is a rose is a rose is a rose is a rose is a tired rhyme

But in the verse there’s always time

Would scansion cease to mark the beats if I went away

Would a syllable interrupt the feet with tetrametric iambs

When I am gone

Listen

and I will sing a tune of love and life and of the ocean’s prose and the poetry of a red, red, rose, that’s newly sprung in June

And so you say the saying goes a rose is a rose is a rose is a rose is a rose is a rose is how I’m keeping track of time

When a’ the seas rise high, my dear and the rocks melt with the sun Will the memory of us still rhyme with anyone will we still tune our violins Will we still sing of roses Will we exist at all, my love,

or will we fade to stanzas of the dust that I suppose is all we were and all we’ll be .

And so the saying “So it goes” depends a lot on if a rose is a rose is a rose is a rose is a rose is a rose is a rose is a thing sublime And so we stay, on borrowed time .

Red, Red Rose

(Robert Burns, 1794)

And fare thee well, my only love And fare thee well awhile And I will come again, my love Though it were ten thousand mile

O my Love’s like a red, red rose

That’s newly sprung in June; O my love is like the melody That’s sweetly played in tune .

So fair art thou, my bonnie lad, So deep in love am I; And I will love thee still, my dear, Till a’ the seas gang dry

Till a’ the seas gang dry, my dear, And the rocks melt with the sun; I will love thee still, my dear, While the sands of life shall run .

And fare thee well, my only love! And fare thee well awhile!

And I will come, will come again, my love, Though it were ten thousand mile

O my Love’s like a red, red rose So deep in love am I, I will love thee still, my dear And I will love thee still, my dear And I will love thee

And I

Meet the Musicians

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.

Katherine McLin concertmaster, 23 years The Donald G Dunn Chair Current Residence: Phoenix, AZ

Jennifer Ross principal second, 5 years The Brachman Smith Family Chair Current Residence: Jackson, WY

Victoria Moreira violin, 8 years The Dyann & E Joel Wesp Chair Current Residence: Chicago, IL

Amy Cave violin, 8 years

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

Solomon Liang violin, 4 years

The Laurie & Thomas W Hill Chair Current Residence: Columbus, OH

Rebecca Willie assistant concertmaster, 8 years The Joan M Herbers Chair Current Residence: Greensboro, NC

Heather Kufchak violin, 12 years The Deborah Raita Chair Current Residence: Ashland, OH

William Manley violin, 17 years The Fran Luckoff Chair Current Residence: Columbus, OH

Koko Watanabe violin, 5 years The Elizabeth Williams Chair Current Residence: Columbus, OH

Eric Kline violin, 11 years

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

The Margaret & Jerome Cunningham Chair

Current Residence: Oxford, OH

The

The Regie & David Powell Chair

Current Residence: New York, NY

The

Current Residence: Oberlin, OH

Current Residence: Columbus, OH

28 years

The Barbara Trueman Chair

Current Residence: Durham, NC

Cora

cello, 22 years

The Bob & Mary Frances Restrepo Chair

Current Residence: Columbus, OH

15 years

The William K Laidlaw Chair

Current Residence: Cincinnati, OH

14 years

The Donna K Laidlaw Chair

Current Residence: Albuquerque, NM

11 years

The John F Brownley Chair

Current Residence: Columbus, OH

6 years

The Kathryn D Sullivan Chair

Current Residence: Jacksonville, FL

The Dana Navin Schultz Chair

Current Residence: St Louis, MO

The

Current Residence: New York, NY

The

Current Residence: San Antonio, TX

The

Current Residence: Richfield, OH

Nat Chaitkin cello,

Joel Becktell cello,

Kuyvenhoven

Brett Allen viola, 12 years

Keith F and Katherine B Dufrane Trust Chair

Stephen Goist viola, 8 years

Mary Harris viola, 27 years

Marc Moskovitz principal cello,

John Pellegrino principal double bass,

Patrick Bilanchone* double bass,

Ilya Shterenberg principal clarinet, 5 years

Beth Grimes-Flood & Tom Flood Chair

Jennifer Magistrelli clarinet, 11 years

Jack & Betsy Farrar Chair

Nadine Hur principal flute, 2 years

Anthony Trionfo+ flute, 2 years

Miriam & Bernard Yenkin Chair

Jessica Smithorn oboe, 4 years

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

Michael Isaac Strauss viola, 7 years

Anne Powell Riley Chair

Donna Conaty principal oboe, 33 years

The Lee Shackelford Chair

Current Residence: Santa Cruz, CA

Ellen Connors principal bassoon, 12 years

The ML Chair

Current Residence: St Louis, MO

Rachael Young bassoon, 7 years

The Carolyn Merry & Bob Redfield Chair

Current Residence: Cincinnati, OH

Stephanie Blaha principal horn, 5 years

The Todd S Swatsler Chair

Current Residence: Wadsworth, OH

Timothy Leasure trumpet, 19 years

The William & Wendy Faust Chair

Current Residence: Pickerington, OH

Renee Keller

principal timpani and percussion, 9 years

The Michael & Jody Croley Jones Chair

Current Residence: Lima, OH

Rajesh Prasad percussion, 9 years

The Bob Redfield & Mary Yerina Chair

Current Residence: Raleigh, NC

Jeanne Norton principal harp, 43 years

The Sustaining Board Chair

Current Residence: Columbus, OH

Aya Hamada

principal harpsichord/keyboard, 18 years

The ProMusica Board Chair in memory of Ida Copenhaver

Current Residence: New York, NY

+ one-year appointment

* on leave for the 2022-23 season

2021-2022 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.

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Worthington Hills Women’s Club

Anonymous

This list includes contributions made to ProMusica for the period of July 1, 2021 to June 30, 2022. 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 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 2021-2022 giving year (July 1, 2021 – June 30, 2022).

In Honor of Janet Chen

Carol A . McGuire

In Memory of Ida Copenhaver

Molly and Brian Snell

In Memory of Loann Crane

Barbara and David Brandt

Georgeann Corey

Ruth Guzner

Peggy Lazarus

The Markus Family

Colleen Nissl and Roger Sugarman

Elizabeth Williams

Anonymous

In Memory of Donald Dunn

Julia and Milt Baughman

Adam Bell

Beverly Bell

Phil and Ann Bickel

A .L P. and the Brown Family

John F Brownley

Nancy and George Byers

Leonard and Gail Calodney

Marilyn and Martin Campbell

Bill Casto

David and Annjia Chan

Janet Chen and Rick Buchanan

Albert and Judy Clovis

Sarah Crane Cox

Beth Crane and Richard McKee

Michael and Paige Crane

William and Christine Dargusch

Ron and Jill Dean

Laura Dehelendorf and Jameson Crane

Keith Dennis

Grant and Susan Douglass

Mr . and Mrs . James R . Dunn

Beverley Ervine and Boyce Lancaster

Fahlgren Mortine

Elliott Farkas

Betsy and Jack Farrar

Allison Fulford

James Garland and Carol Andreae

Beth Grimes-Flood and Tom Flood

Jim Ginter

Mitch and Chris Grindley

Sue and James Gross

Bill Habelow

Sandy and Robin Harbrecht

Sharon Hays

Laurie and Thomas Hill

Ann and Thomas E . Hoaglin

The Hondros Family

Leslie Huntington

Suzanne Karpus

Donna and Richard Larkin

Mary Lazarus

Peggy Lazarus

Andrew and Amy Lester

Larry and Jared Levinson

Alex and Katie Marsh

Nancy Marzella

Robert and Judith Meyer

Marcia Miller

Marilyn and Randy Miller

Elizabeth and Tom Mitevski

Rhonda and Michael Murnane

Norma Palmer

Ann and Ron Pizzuti

Pritzker Private Capital

Susan and Ken Quintenz

Cordelia Robinson

Alex and Marty Ross

Lane and John Rothschild

Thomas and Lynn Ryan

Bill and Shari Schwartz

Mr . and Mrs . Zuheir Sofia

Thomas Szykowny and Susan Dutton

Truck Hero

Webb and Liz Vorys

Troy Walters

Owen and Martha Whitfield

Elizabeth Williams, Columbus, OH

Elizabeth Williams, Superior, CO

Margie and Thomas Williams

Frank and Carol Wojcik

Ellen Yen

Mary Yerina and Bob Redfield

John Zambito

Cheryl and John Zeiger

Anonymous

In Honor of Suzanne Karpus

Mary Lazarus

In Memory of Janet Adele

Lancaster Goring

Boyce D Lancaster

In Memory of Larry Lannison

Laurie and Thomas Hill

In Honor of Peggy Lazarus

Mary Lazarus

Bobbi and Rob Lucas

Susan and Ken Quintenz

Elizabeth Williams

In Memory of Fran Luckoff

Visiting Angels Columbus

Anonymous

In Honor of Susan and Bill McDonough

Sheila Kroos

In Honor of Katherine McLin

Gary and Sara Gislason

In Memory of Dana

Navin Schultz

Mrs . Mark Federer

Beverley Ervine and Boyce Lancaster

Linda Larrimer

Sally and Neil Larrimer

Allen Baker and Al Waddell

In Honor of Gavin Sebastian

Gail and James Lowe

In Honor of Lee Shackelford

Patti Shorr

In Memory of Edward Tausk

Melva Fisher

The Estate of Tydvil Thomas

In Honor of Susan Quintenz

Elizabeth Williams

Ellen Yen

In Memory of Marvin W. Wente

Lisa Wente

In Memory of Andi Wobst Jeney

Donald G Dunn

For more information on making a perpetual gift to the ProMusica Endowment Fund, please contact the ProMusica Development Office at 614 464 0066 ext 104

Play Us Forward

Donors

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

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

Contributions listed were received for the 2021-2022 school year

INDIVIDUALS

James Anderson

Tara Buckwalter

Robert Byrd

Prasad Chirumamilla

Georgeann Corey

Peter Craigmile

Meghan Domeck

Dorie and Michael Greenspan

Joy and Michael Gonsiorowski

Sheryl Hansen

Steven Hillyer

Susanne Jaffe

Jody Croley Jones and Mike Jones

James Knippenberg

Barbara and David Lambert

Rashmi Nemade

Mary Robins

Arlene Roth

Jennifer and Daniel Shively

Kevin A . Smith

SPECIAL GIFTS

In Honor of Barbara Fergus

Peggy Lazarus

Susan Quintenz

In Honor of Peggy Lazarus

Ellen Bowden

SUPPORT FROM CORPORATIONS, FOUNDATIONS & PUBLIC AGENCY FUNDS

CoverMyMeds LLC

Huntington

Ingram-White Castle Foundation

Key Bank

The Hattie and Robert Lazarus Fund of The Columbus Foundation

The Loft Violin Shop

Ohio Arts Council

ProMusica Sustaining Board

Puffin Foundation West

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