ProMusica | Oct - Dec 2023 Program Book

PROGRAM BOOK

From the 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.

Photo: Shellee Fisher Photography & Design for WELD

Championing Art

Advancing Culture

Celebrating Expression

Fostering Talent

Promoting Community

Advocating Collaboration

CELEBRATING 50 YEARS

GCAC.org

David Danzmayr

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

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 .

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 .

Photo: Rick Buchanan Photography

The Elizabeth M. Ross Music Director

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 .

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.

Photo: Marco Borggreve

Creative Partner & Principal Guest Artist

The Wilson Family Chair

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

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

President-Elect

Lavea Brachman, Brookings Institution

Vice-President Matthew Fornshell, Ice Miller LLP

Vice-President Joan Herbers, The Ohio State University

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

Elizabeth Moyo, Porter, Wright, Morris & Arthur LLP

Lynn Elliott, Columbus Window Cleaning

Nancy Falk, Central Ohio Primary Care Physicians

+ William Faust, Ologie

Adam Ferguson, Huntington Bank

Jake Gibson, Bank of America

Laurie Hill, Civic Leader

+ Dave Humeston, Civic Leader

Stephen Keyes, Abercrombie & Fitch

Christine Kullberg, Cardinal Health + Bill McDonough

Susan Quintenz, Civic Leader

Jennifer Ross, ProMusica Musician Representative

Julie A. Rutter, American Electric Power

Lee Shackelford, Physician

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

The Tom Battenberg & Helen Liebman Chair

David Danzmayr Music Director

The Elizabeth M. Ross Music Director

Vadim Gluzman Creative Partner & Principal Guest Artist

The Wilson Family Chair

Mayra Aburto Executive Assistant & Special Projects Manager

Lauren Blair Education & Community Engagement Manager

Yvette Boyer Finance Manager

Lane Champa Play Us Forward Coordinator & Lead Instructor

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

Lisa Wente Grants Consultant

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

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

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

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

Claudia Abrams

Jordan Andrews*

Sally Baughman

Daniel Burry*

Richard Burry

Yvonne Heather Burry

Mark Butler

Sandy Byers

Donna Cavell

Marilee Chinnici-Zuercher

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

Deborah Norris Matthews

Judy Michaelson

Marianne Mottley

Larry Neal

Mary Oellermann

Thomas O’Reilly

Dorothy Pritchard

Susan Quintenz

Deb Raita

Bob Redfield

Stephanie Riedmiller*

Robert Rutter

Melissa Schmidt

Laurie Schmidt-Moats

Lee Shackelford

Sallie Sherman

Beth Stafa

Stephanie Stephenson

Robert Wing

Miriam Yenkin

Mary Yerina

PRINCIPAL MEMBERS

Nancy Brownell

Janet Chen

Maggie Cunningham

Barbara Elliott

Lynn Elliott

Elizabeth Turrell Farrar

Marion Fisher

D Jean Hester

Rose Hume

Andrew Maggard

Nancy Marzella

Marybeth McDonald

Susan McDonough

Jane McMaster

Hugh Schultz

Marquell Segelken

Gail Walter

Dyann Wesp

Margie Williams

Becky Wright

Serie Zimmerman

MUSICIAN MEMBERS

Edward Badger

Kim Bingle

Carole Gleason Bockey

Kristen Reynolds Bond

Ellen Bowden

Barbi Crabill*

Lindsey Dunleavy

Mary Faure

Ellen George

Paul George

Sue Gross

Elayne Gunder

Susan Johnson*

Joan Kirschner*

Linda Kurtz

Cindy Mackin

Judith Korn Oppenheimer

Jan Quatman*

Anne Powell Riley

Ellen Yen

* New member

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

October Guest Artist Simone Porter

Violinist Simone Porter has been recognized as an emerging artist of impassioned energy, interpretive integrity, and vibrant communication In the past few years she has debuted with the New York Philharmonic, the Philadelphia Orchestra, the Los Angeles Philharmonic; and with a number of renowned conductors, including Stéphane Denève, Gustavo Dudamel, Yannick Nézet-Séguin, Nicholas McGegan, Ludovic Morlot, and Donald Runnicles Born in 1996, Simone made her professional solo debut at age 10 with the Seattle Symphony and her international debut with the Royal Philharmonic Orchestra in London at age 13 . In March 2015, Simone was named a recipient of an Avery Fisher Career Grant

With the cessation of live concerts Simone continued to record streamed events with Seattle, Pittsburgh, Charlotte and Greater Bridgeport Symphonies . Subsequent seasons included extensive US touring with debuts and return visits to orchestras such as Colorado, North Carolina, St Louis, Grand Rapids, Omaha, Quebec, Princeton, Monterey, Bakersfield, Marin, Ridgefield, Wyoming, Winston-Salem, Virginia, Marin, Lexington, Modesto, New Haven, Bozeman, Portsmouth and Jacksonville symphonies, Erie Philharmonic and Florida Orchestra . Recent recital highlights include a tour in Spain with pianist Pallavi Mahidhara and debuts at Celebrity Series in Boston and NY92, both of which featured the newly commissioned piece by composer Reena Esmail . The 23/24 season is starting with Domaine-Forget and Moab Music Festivals, followed by orchestral performances in Shreveport, Burlington, Columbus, Hawaii, Greenville, Mobile, and Rockford, as well as a debut with Orquesta Clasica Santa Cecilia de la Fundacion Excelentia in Madrid In recital, Simone can be heard in Kentucky, California and Aspen, CO .

At the invitation of Esa-Pekka Salonen, Simone performed his work Lachen verlernt (Laughing Unlearnt), at the New York Philharmonic’s “Foreign Bodies,” a multi-sensory celebration of the work of the composer and conductor In recent seasons, she has also appeared at the Edinburgh Festival performing Barber under the direction of Stéphane Denève, and at the Mostly Mozart Festival performing Mozart under Louis Langrée She has also performed with the Los Angeles Philharmonic at

the Hollywood Bowl with both Nicholas McGegan and Ludovic Morlot, and at Walt Disney Concert Hall with Gustavo Dudamel

Internationally, Simone has performed with the Simón Bolívar Symphony Orchestra with Gustavo Dudamel; the Orquestra Sinfônica Brasileira in Rio de Janeiro; the National Symphony Orchestra of Costa Rica; the City Chamber Orchestra of Hong Kong; the Royal Northern Sinfonia; the Milton Keynes City Orchestra in the United Kingdom; and the Opera de Marseilles

Simone made her Carnegie Zankel Hall debut on the Emmy Award-winning TV show From the Top: Live from Carnegie Hall followed in November 2016 by her debut in Stern Auditorium . In June 2016, her featured performance of music from Schindler’s List with Maestro Gustavo Dudamel and members of the American Youth Symphony was broadcast nationally on the TNT Network as part of the American Film Institute’s Lifetime Achievement Award: A Tribute to John Williams

Raised in Seattle, Washington, Simone studied with Margaret Pressley as a recipient of the Dorothy Richard Starling Scholarship, and was then admitted into the studio of the renowned pedagogue Robert Lipsett, with whom she studied at the Colburn Conservatory of Music in Los Angeles Summer studies have included many years at the Aspen Music Festival, Indiana University's Summer String Academy, and the Schlern International Music Festival in Italy

Simone Porter performs on a 1740 Carlo Bergonzi violin made in Cremona Italy on generous loan from The Master’s University, Santa Clarita, California .

DAVID DANZMAYR

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

Vacant, 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 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

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

ASSISTING MUSICIANS

Everett Burns horn

Bruce Hennis horn

Mark Grisez trumpet

Julian Maddox violin

Tea Prokes violin

Kirstin Greenlaw 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.

OPENING WEEKEND: BEETHOVEN & BRUCH

Simone Porter, violin

David Danzmayr, conductor

Southern Theatre // Saturday, October 7 // 7:00 PM

Southern Theatre // Sunday, October 8 // 7:00 PM

CARLOS SIMON Fate Now Conquers

BRUCH

Violin Concerto No. 1 in G Minor, Op. 26

I. Vorspiel - Allegro moderato

II. Adagio

III. Finale - Allegro energico

Simone Porter, violin

Intermission

Intermission lasts 15 minutes

BEETHOVEN Symphony No. 2 in D Major, Op. 36

I . Adagio – Allegro con brio

II Larghetto

III . Scherzo (Allegro) – Trio

IV . Allegro molto

The Opening Weekend Champagne Toast is generously provided by:

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

About the Music

Carlos Simon (b. 1986): Fate Now Conquers

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

Composed: 2020

Duration: 5 minutes

Given his southern roots, and the fact that his father wanted him to be a preacher, it comes as no surprise that Atlanta native, composer and activist Carlos Simon, has found inspiration in the musical worlds of gospel and jazz . But the impressive portfolio of this Kennedy Center composer-in-residence also displays a far broader arc, with works that also draw upon contemporary electronic, neo-romantic, and classical sources . It is the latter that served as the stimulus for his orchestral work heard tonight . Premiered in 2020, Fate Now Conquers references Beethoven, specifically the harmonic underpinnings of the Allegretto from Beethoven’s Symphony No. 7.

To understand the true inspiration behind the music, we need to go back to book 22 of Homer’s Iliad (wherein Hector is slain by mighty Achilles) . Beethoven quoted these words in his 1815 diary and Simon subsequently found them particularly meaningful:

But now Fate catches me!

Let me not sink into the dust unresisting and inglorious,

But first accomplish great things, of which future generations too shall hear!

Rather than the above quotation, however, Simon has chosen a different translation (one heretofore unidentifiable by this author) that begins “But fate now conquers…” . To complicate matters, the 1815 diary of Beethoven has long disappeared, though two manuscript

copies, made shortly following Beethoven’s death, have survived The eminent Beethoven scholar Maynard Solomon compared both versions and the above quote is drawn from his article on the subject . Whatever the source, Simon’s Fate Now Conquers makes for a dramatic title and one reflective of Beethoven’s defiant spirit (It might be added that Beethoven was likely aware of the Homer quotation long before his 1815 citation, since such sentiments are already captured in the composer’s Heiligenstadt Testament—a suicide note of sorts—from 1802 See Symphony No. 2, below)

Simon’s five-minute work certainly breathes the air of Beethoven, particularly in its reliance on motoric rhythms, evident from the very outset and which the composer refers to as “an agitated groove,” coupled with “jolting stabs .” Don’t search for a singable melody, for that is something Beethoven himself often did away with . Rather, keep an ear out for Simon’s brilliant orchestral colors, extreme dynamic range and dramatic flair, all of which effectively capture the Beethovenian spirit and, in Simon’s words, “the uncertainty of life that hovers over us . ”

Max Bruch (1838-1920): Violin Concerto No. 1 in G Minor, Op. 26

Instrumentation: Scored for solo violin, pairs of flutes, oboes, clarinets, bassoons and trumpets, four horns, timpani and strings .

Composed: 1866

Duration: 24 minutes

Despite living well into the twentieth century, the musical language of Max Bruch was steeped in the century of his birth His first composition, a song for his mother’s birthday, was written at the age of nine, and his last, a work for chorus and orchestra, was composed shortly before his death at age 83 . In between, the Cologne-born composer amassed some two hundred works, including orchestra suites and symphonies, choral and chamber music, and works for soloists and orchestra . Throughout, Bruch’s unwavering craftsmanship and flair for melody is manifest . Curiously, the composer feared for his music’s future; for all his ability, he felt he lacked that spark of genius possessed by, say, Johannes Brahms, among his German-speaking contemporaries: “I predict that, as

time goes on, he [Brahms] will be more appreciated, while most of my works will be more and more neglected ” Bruch’s concerns proved prescient—Brahms’ masterworks soon took their rightful place in the classical canon, where they remain today, while the majority of Bruch’s compositions quickly faded from concert life The latter’s First Violin Concerto is one of the few exceptions and remains a beloved staple of the repertoire (Bruch’s two other violin concertos, meanwhile, are virtually unknown) .

The G minor Concerto was written for the famous virtuoso Joseph Joachim, who offered valuable advice to the composer during the composition process . Even the “concerto” title was apparently Joachim’s—Bruch wanted to label the work a “fantasy” rather than a concerto, on account of the informal nature of the first movement Rather than launch his concerto with a traditional orchestral introduction, Bruch opens with a Prelude that features a pair of unaccompanied cadenzas near the outset before dramatically setting the violin over a hushed orchestral heartbeat Thus is the rhapsodic nature of Bruch’s work set in motion . The extended Prelude also includes a soulful violin line that the composer underscores with the horn, illustrating his striking flair for orchestration . As the violin is put through its virtuosic paces, the tempo accelerates, eventually ushering in the long-awaited, albeit brief, Allegro moderato, featuring the orchestra alone . Indeed, it may be noted that the concerto as a whole lacks any true dialogue between orchestra and soloist, another clue to Bruch’s initial “fantasy” conception

Following a return of the opening cadenza, the movement dovetails directly into a loving Adagio revealing Bruch’s penchant for lush harmony, colorful orchestration, and tender melodies, including a noble second theme that ushers in a series of violin arabesques . The finale, marked Allegro energico, opens with a mysterious, murmuring accompaniment that sets the stage for the first theme of the movement, a Romani-inspired melody that the violinist harmonizes with impressive double-stopping The movement features virtuosic violin writing and dramatic orchestral scoring, including a broad, impassioned second theme, the first phrase of which is stated by the orchestra before being taken up by the soloist Among the concerto’s most hair-raising passages are those found in quick succession towards the movement’s conclusion, where a pair of orchestral climaxes give way to deceptive

resolutions The coda thus attained, the music rushes with breathless gusto to the triumphant final bars

Ludwig van Beethoven (1770-1827):

Symphony No. 2 in D Major, Op. 36

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

Composed: 1802

Duration: 32 minutes

Though probably begun at the end of 1800, the bulk of the work on the Second Symphony occupied Beethoven during the summer of 1802, a period that proved among the composer's most consequential . Some four years earlier, the 26-year-old Beethoven had begun to experience fluctuating hearing loss Now, upon the advice of his physician, Beethoven left the bustle and noise of his adopted home of Vienna to summer in the far more tranquil town of nearby Heiligenstadt . But his spirits soon spiraled downward, as he faced the inevitability of deafness This was the summer of the famed Heiligenstadt Testament, in effect Beethoven’s last will and testament, a heart-rending suicide note from a composer who saw no way forward without the ability to hear . The summer did not end in suicide, fortunately, and the Testament would only be discovered years later, following Beethoven’s death . Refusing to succumb to despair, Beethoven instead marshaled his reserves and lived for another twenty-five years The act of turning inward proved pivotal, for by doing so Beethoven mined previously untapped creative urges . The results of these efforts are generally regarded as among the most profound artistic achievements of the Western world

The grand opening of the Second Symphony requires nearly three minutes to unfold . The score then slides effortlessly into the Allegro con brio, but instead of assigning the melody to a single instrument or group, Beethoven divides up his material between the lower strings and the winds, while the violins are left to momentarily take up the role of accompanist . Take note of this opening’s components: the clipped, energetic sixteenth-notes and the evenly-paced eighth-notes that follow provide the means for rich development later

In the A major Larghetto the composer experiments with new colors and effects, techniques that would later become part of the romantic musical vocabulary . Constructed in large-scale sonata form, the movement has been accurately described as both childlike and innocent, characteristics certainly at odds with the circumstances under which the music was composed The rambunctious Scherzo (Allegro) is rife with explosive dynamic changes, designed for shock value, and countered by the lovely folk-inspired wind writing at its center . Traditionally, symphonic finales tend to be somewhat lighthearted, allowing the audience to depart in high spirits, and sure enough, this Allegro molto is a joyous Haydnesque romp, full of good humor and unexpected starts and stops .

The Second Symphony was premiered at the Theater an der Wien in April of 1803, under Beethoven’s baton, on a massive program that also featured his recently composed Third Piano Concerto, the oratorio Christ on the Mount of Olives, and the First Symphony from several years prior Not surprisingly, Beethoven’s explosive musical gestures and wide-ranging harmonic palette unnerved his critics, one deeming the symphony “a crass monster, a hideously writhing wounded dragon, that refuses to expire…” It was a scenario that was to play out repeatedly over the course of Beethoven’s lifetime Sometimes his audiences rallied around him, at other times he left his listeners bewildered, but Beethoven was never to be swayed from his course The musical world has been monumentally enriched as a result, not only on account of his defiance and musical genius but by his deafness as well

© Marc Moskovitz www.marcmoskovitz.com

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in the ProMusica Chamber Orchestra.

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, Xavier Foley, Noah Bendix-Balgley, and Caroline Shaw This season, we welcome composer/performer Andy Akiho to the Southern Theatre stage .

November Guest Artist

Andy Akiho

Andy Akiho is a “trailblazing” (Los Angeles Times) Pulitzer Prize finalist and GRAMMY-nominated composer whose bold works unravel intricate and unexpected patterns while surpassing preconceived boundaries of classical music . Known as “an increasingly in-demand composer” (The New York Times), Akiho has earned international acclaim for his large-scale works that emphasize the natural theatricality of live performance . He is the only composer to be nominated for a GRAMMY in the Best Contemporary Classical Composition category in both 2022 and 2023 .

Highlights of the 2022-2023 season included the worldpremiere of a new interdisciplinary work for Omaha Symphony honoring visual artist Jun Kaneko, the world-premiere of a new commission for Imani Winds, and a sold-out run of Akiho’s Seven Pillars at Théâtre du Châtelet, choreographed by Benjamin Millepied and performed by Sandbox Percussion and LA Dance Project Equally at home writing chamber music and symphonies, Akiho was the Oregon Symphony Orchestra’s 2022-2023 composer-in-residence .

Recent engagements include commissioned premieres by the New York Philharmonic, National Symphony Orchestra, Shanghai Symphony, China Philharmonic, Guangzhou Symphony, Oregon Symphony Orchestra, American Composers Orchestra, Music@Menlo, LA Dance Project and The Industry

Akiho has been recognized with many prestigious awards and organizations including the Rome Prize, American Academy of Arts and Letters, Lili Boulanger Memorial Prize, Harvard University Fromm Commission, Barlow Endowment, New Music USA, and Chamber Music America . His compositions have been featured by organizations such as Bang on a Can, American Composers Forum, The Intimacy of Creativity in Hong Kong, and the Heidelberg Festival . An active steel pannist, Akiho has performed his

works with the LA Philharmonic’s Green Umbrella Series, the Berlin Philharmonic’s Scharoun Ensemble, the International Drum Festival in Taiwan, and more . Akiho’s recordings No One To Know One, The War Below, Seven Pillars, and Oculus feature brilliantly crafted compositions inspired by his primary instrument, the steel pan .

The physicality of playing that Akiho experiences as a steel pannist is an embedded aspect of his musical practice and naturally extends itself into his compositional output . Music making is inextricably linked to shared human experience for Akiho from inception to performance . Akiho’s compositional trajectory has been an untraditional one, he spent most of his 20s playing steel pan by ear in Trinidad and began composing at 28, and these social roots laid the foundation for his current practice . He can frequently be found composing into the wee hours of the morning at coffee shops, nightclubs, bars and restaurants, taking breaks to get to know those around him . Similarly, Akiho develops relationships with his collaborators as he writes for people, not instruments .

Akiho was born in 1979 in Columbia, SC, and is currently based in Portland, OR and New York City . He is represented by CAMI Music .

Photo: Da Ping Luo

DAVID DANZMAYR

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

Vacant, 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 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

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

ASSISTING MUSICIANS

Amy Guitry

piccolo

Benjamin Kamins

bassoon

Eric Louie

contrabassoon

Jeff Garza horn

Everett Burns horn

Amy Lassiter horn

Justin Kohan

trumpet

Andrew Jeng

trumpet

David Roode

trombone

Michael Charbel

trombone

Chad Arnow

trombone

Christopher Blaha

tuba

Lydia Umlauf violin

Yael Senamaud

viola

Michael Molnau

viola

Susan Powell

percussion

Joseph Krygier

percussion

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.

STEEL PAN & SCHUBERT

Andy Akiho, steel pan & composer

David Danzmayr, conductor

Southern Theatre // Saturday, November 11 // 7:00 PM

Southern Theatre // Sunday, November 12 // 7:00 PM

ANDY AKIHO Beneath Lighted Coffers

I . Portico

II Twenty-Eight

III . Oculus

IV . Corelli

V . Permanence

Andy Akiho, steel pan

Intermission

Intermission lasts 15 minutes

SCHUBERT

Symphony No. 9 in C Major, D. 944 “The Great”

I . Andante – Allegro ma non troppo

II Andante con moto

III . Scherzo (Allegro vivace) – Trio

IV . Finale: Allegro vivace

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

About the Music

Andy Akiho (b.1979): Beneath Lighted Coffers, Concerto for Steel Pan and Orchestra

Instrumentation: Scored for piccolo, pairs of flutes, oboes and clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, percussion, harp and strings

Composed: 2015

Duration: 28 minutes

Born in Columbia, South Carolina of Japanese heritage, virtuoso percussionist Andy Akiho now makes his home in New York and Portland, Oregon . While a student at the University of South Carolina, Akiho experimented with a variety of percussion instruments and flirted with West African and Brazilian drumming, but after spending time in Trinidad, has dedicated himself to the steel drums . A Pulitzer finalist and a Grammy-nominated composer, Akiho has been honored with a number of prestigious awards and has performed his music from Los Angeles to Berlin to Taiwan .

Composed for the National Symphony Orchestra (Washington, DC), Beneath Lighted Coffers is Akiho’s homage to the Roman Pantheon The structure, built by Emperor Hadrian around 126 AD on the former site of a temple commissioned by Marcus Agrippa, is an architectural marvel and features a central oculus, or eye, at the zenith of its dome, which opens to the sky 2000 years after its construction, the Pantheon remains the world’s largest unreinforced concrete dome

The composer’s descriptions of the individual movements are as follows:

Portico

Inspired by the Pantheon’s portico, the entryway that one sees walking up a once narrow path to the building. The portico is inviting and unassuming, and the grandeur of the

dome cannot be seen from afar, creating a somewhat unexpected experience in the rotunda. What captivates me most about the Greek-inspired entrance are the enormous, monolithic, Corinthian granite columns that were shipped from Egypt.

Twenty-Eight

The architecture mirrors the 140 trapezoidal coffers, or sunken panels, geometrically arranged in five concentric circles of twenty-eight in the Pantheon’s concrete dome. The coffers create an optical illusion that draws the observer towards the dome’s center, and they look different depending on the light of day streaming in through the oculus. Musically, I derived the melodic material of this movement from a 28-note palindromic scale that spans the entire range of the orchestra, and the structure of the movement is built in five groups of 140 beats, often sub-divided into five groups of twenty-eight.

Oculus

The many different skies that appear through the oculus continually change the way the Pantheon is experienced. They inspired this central movement, whose music comes from a more personal and intuitive place, mimicking the unpredictable clouds and light variances above and through the exposed sky in the oculus. The oculus also acts as an architectural keystone, although it is a purely empty space that has held the entire unreinforced concrete dome together for nearly two thousand years. Like the oculus, this middle movement is central to the structure of the entire composition.

Corelli

The brief fourth movement drew inspiration from the Pantheon’s marbled floor patterns and the music of the Italian Baroque composer and violinist Arcangelo Corelli (1653–1713), who is buried in the Pantheon. I have always been a fan of Corelli’s chamber music, and I pay homage to him by alluding to the ‘Grave’ movement from his Concerto Grosso No. 3. The original lays out a melodic line of 45 notes for the violin, which I associated with the 45 circles of the Pantheon’s patterned, marbled floor, imagining rain falling from the oculus above, shifting these notes and timbres around before disappearing in the drainage system beneath the floor.

Permanence

Writers and historians often use adjectives like ‘permanence’ and ‘progeny’ to describe the Pantheon because it is the best-preserved and most influential building from ancient Rome: it has miraculously endured numerous years, storms, fires, wars, governments, barbarians, and popes. The Pantheon brings together the past and the future, and I am very grateful to have had an opportunity to experience the history of the building and its architectural greatness while writing this piece in the present day.

Franz Schubert (1797-1828): Symphony No. 9 in C Major, D. 944 "The Great"

Instrumentation: Scored for flutes, oboes, clarinets, bassoons, trumpets, horns, three trombones, timpani and strings

Composed: 1824-1826

Duration: 48 minutes

What we now know as Schubert’s Ninth was the thirtyone-year-old composer’s last completed symphony— he was working on a 10th at the time of his death—and his symphonic magnum opus, although the work sadly suffered a fate similar to many of the composer’s earlier symphonies . In October of 1826, Schubert presented a fully scored version of the symphony to the Gesellschaft der Musikfreunde, The Society for the Friends of Music, one of Vienna’s most prestigious musical organizations . The Society gave the work a private run-through but ultimately deemed it too long and difficult to fund a public performance And that is more or less where the story of “The Great” C Major Symphony ended, at least during the composer’s lifetime, for Schubert lacked sufficient funds to pay for a performance of his grand symphony himself and died two years later

A decade or so after, composer Robert Schumann paid a visit to Schubert’s brother, Ferdinand, in Vienna, where he was shown a pile of the late composer's manuscripts . "The riches that lay piled up there made me tremble with pleasure . Where to begin, where to stop?" Schumann would write . Among the sheaves of music was the manuscript of the C Major Symphony and Schumann persuaded Ferdinand to send the score to composer and conductor Felix Mendelssohn, arguably the most influential conductor of his day . Still, despite Mendelssohn’s push, the work was slow to gain traction . It was performed in Vienna for the first time

in 1839, but only with the first two movements, and when Mendelssohn took it to Paris and London, the musicians simply refused to play it .

Arguably it was the work’s magisterial length that proved the greatest hurdle, a quality Schumann himself referred to as its “heavenly lengths .” The slow introduction contributes to the score’s overall breadth, yet the Andante, which uncoils across seventy-seven bars, contains the materials with which Schubert will develop his Allegro proper . Take note of the dotted rhythm heard in the work's second bar, for this rhythm will gradually become the focus . These note values will become compressed at the close of the introduction, giving the impression of a quickening tempo, until the Allegro ma non troppo ("fast but not too fast") is reached and its rocking theme established . Following a clipped secondary theme delivered by the winds, Schubert introduces yet another theme presented by the trombones, contributing to this sonata form’s expanded length . Scoring for trombone is but one indication that the symphony as a genre had now entered the Romantic era Schubert’s use of them here, not for power or color but to present the theme (and to do so within a piano dynamic) is noteworthy

The initial character of the A minor Andante con moto is that of a subdued march, set in motion by the strings quiet introduction, before the oboe pipes the movement’s main theme invoking sounds of the Austrian countryside . But the idyllic opening evaporates when the entire orchestra explodes with the dotted, martial rhythm that will dominate much of what follows . After recalling the gentle opening strains, Schubert pivots completely . Warm French horns set up a new, romantic character which Schumann described as “descending from another world” and the strings offer up an expansive theme . The return of the opening material proves to be no mere recapitulation, however, for Schubert ups the game with a stunning new series of ideas and decorations, including glorious cello writing, terrifying passages in the lower brass, and martial trumpet calls . Schubert’s seemingly inexhaustible ideas seem to tumble out effortlessly in this sublime, modified sonata-form movement .

The strings open the C Major Scherzo with a muscular theme, from which Schubert spins forth a folksy dance in the winds and a lovely, string-dominated waltz . This material is brilliantly developed with offbeat jabs and peppered with a dash of counterpoint for good measure . A series of repeated chords in the horns and winds announce the contrasting A Major trio, a warm, rich and noble theme presented in parts by the entire orchestra that again draws on the opening dotted rhythm .

The relentless Allegro vivace finale features no less than six ideas built almost entirely on this jagged rhythm . The galloping, incessant accompaniment requires tremendous energy of the players which may have proven a deterrent to the work’s early performances, but the excitement generated pays great dividends The movement includes an extended development and a majestic coda featuring a striking series of unexpected modulations and intense, Beethovenian outbursts The

thrilling final bars crown this colossal work with a glorious finish

Time, of course, always has the final say, and despite its frustrated beginnings, “The Great”—a moniker attached to the work to differentiate it from Schubert’s earlier, and far more modest C major Symphony—has since become a beloved staple of the concert repertoire . No doubt we can all relate to Schumann's appreciation of its inherent qualities: "Deep down in this work there lies more than mere song, more than mere joy and sorrow, as already expressed in music in a hundred other instances . It transports us to a world where I cannot recall ever having been before . "

© Marc Moskovitz

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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December Guest Artist

Garrick Ohlsson

Since his triumph as winner of the 1970 Chopin International Piano Competition, pianist Garrick Ohlsson has established himself worldwide as a musician of magisterial interpretive and technical prowess . Although long regarded as one of the world’s leading exponents of the music of Frédéric Chopin, Mr Ohlsson commands an enormous repertoire, which ranges over the entire piano literature . A student of the late Claudio Arrau, Mr Ohlsson has come to be noted for his masterly performances of the works of Mozart, Beethoven and Schubert, as well as the Romantic repertoire To date he has at his command more than 80 concertos, ranging from Haydn and Mozart to works of the 21st century, the most recent being Oceans Apart by Justin Dello Joio commissioned for him by the Boston Symphony Orchestra and now available on Bridge Recordings . Also just released on Reference Recordings is the complete Beethoven concerti with Sir Donald Runnicles and the Grand Teton Music Festival Orchestra

A frequent guest with the orchestras in New Zealand and Australia, Mr Ohlsson returned for a nine-city recital tour across Australia in June 2023 and will open the Nashville Symphony’s season in September, followed during the season by appearances with orchestras in Atlanta, Sarasota, Rhode Island, Singapore, Prague, Warsaw, Lyon and Oxford (UK) With recital programs including works from Beethoven, Schubert, Chopin to Brahms and Scriabin he can be heard in New York, Seattle, Baltimore, Prague, Katowice, Krakow and Wrocław

An avid chamber musician, Mr Ohlsson has collaborated with the Cleveland, Emerson, Tokyo and Takacs string quartets His recording with latter of the Amy Beach and Elgar quintets released by Hyperion in June 2020 received great press attention . Passionate about singing and singers, Mr Ohlsson has appeared in recital with such legendary artists as Magda Olivero, Jessye Norman, and Ewa Podleś

Mr . Ohlsson can be heard on the Arabesque, RCA Victor Red Seal, Angel, BMG, Delos, Hänssler, Nonesuch, Telarc, Hyperion and Virgin Classics labels His ten-disc set of the complete Beethoven Sonatas, for Bridge Records, has garnered critical acclaim, including a GRAMMY® for Vol 3 His recording of Rachmaninoff’s Concerto No. 3, with the Atlanta Symphony and Robert Spano, was released in 2011 . In the fall of 2008, the English label Hyperion re-released his 16-disc set of the Complete Works of Chopin followed in 2010 by all the Brahms piano variations, Goyescas by Enrique Granados, and music of Charles Tomlinson Griffes Most recently on that label are Scriabin's Complete Poèmes, Smetana’s Czech Dances, and ètudes

by Debussy, Bartok and Prokofiev . The latest CDs in his ongoing association with Bridge Records are the Complete Scriabin Sonatas, Close Connections, a recital of 20th-Century pieces, and two CDs of works by Liszt . In recognition of the Chopin bicentenary in 2010, Mr . Ohlsson was featured in a documentary The Art of Chopin coproduced by Polish, French, British and Chinese television stations Most recently, both Brahms concerti and Tchaikovsky's second piano concerto were released on live performance recordings with the Melbourne and Sydney Symphonies on their own recording labels, and Mr Ohlsson was featured on Dvorak's piano concerto in the Czech Philharmonic's recordings of the composer's complete symphonies & concertos, released July of 2014 on the Decca label

A native of White Plains, N Y , Garrick Ohlsson began his piano studies at the age of 8, at the Westchester Conservatory of Music; at 13 he entered The Juilliard School, in New York City His musical development has been influenced in completely different ways by a succession of distinguished teachers, most notably Claudio Arrau, Olga Barabini, Tom Lishman, Sascha Gorodnitzki, Rosina Lhévinne and Irma Wolpe Although he won First Prizes at the 1966 Busoni Competition in Italy and the 1968 Montréal Piano Competition, it was his 1970 triumph at the International Chopin Competition in Warsaw, where he won the Gold Medal (and remains the single American to have done so), that brought him worldwide recognition as one of the finest pianists of his generation Since then, he has made nearly a dozen tours of Poland, where he retains immense personal popularity Mr Ohlsson was awarded the Avery Fisher Prize in 1994 and received the 1998 University Musical Society Distinguished Artist Award in Ann Arbor, MI He is the 2014 recipient of the Jean Gimbel Lane Prize in Piano Performance from the Northwestern University Bienen School of Music, and in August 2018

the Polish Deputy Culture Minister awarded him with the Gloria Artis Gold Medal for cultural merit He is a Steinway Artist and makes his home in San Francisco

Photo: Dario Acosta

DAVID DANZMAYR

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

Vacant, 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 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

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

ASSISTING MUSICIANS

David Roode

trombone

Michael Charbel

trombone

Rachel Charbel

violin

Shannon Thomas

violin

Marjorie Bagley

violin

Yael Senamaud

viola

Matt Hawkins

percussion

Kevin Kosnik

percussion

Ryan Beehan

piano

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.

GARRICK OHLSSON PLAYS BEETHOVEN

Garrick Ohlsson, piano

David Danzmayr, conductor

Southern Theatre // Saturday, December 9 // 7:00 PM

Southern Theatre // Sunday, December 10 // 7:00 PM

JULIA PERRY A Short Piece for Small Orchestra

BEETHOVEN

Piano Concerto No. 4 in G Major, Op. 58

I . Allegro moderato

II . Andante con moto

III . Rondo (Vivace) – Presto

Garrick Ohlsson, piano

Intermission

Intermission lasts 15 minutes

SCHUBERT

Symphony No. 2 in B-flat Major, D. 125

I . Largo – Allegro vivace

II . Andante

III Menuetto (Allegro vivace) – Trio

IV . Presto vivace

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

DECEMBER About the Music

Julia Perry (1924-1979): A Short Piece for Small Orchestra

Instrumentation: Scored for pairs of flutes, oboes, clarinets, bassoons, horns, trumpets and trombones, piano, percussion, timpani and strings

Composed: 1952

Duration: 9 minutes

Julia Perry is among those African American composers active in the first half of the twentieth century whose presence quickly faded from the concert stage, owing in no small part to their black heritage . Perry was born in Kentucky, grew up in Ohio and was musically trained at the Berkshire Music Center in Tanglewood, and subsequently attended The Juilliard School . No less important was the work she did with the great French music pedagogue, Nadia Boulangier, under whom so many luminaries also studied, from Aaron Copland to Astor Piazzolla .

While Perry flirted with a variety of styles during her all-too-brief career, including an experimentation with advanced harmonies, she generally adhered to a tonal, if dissonant, musical vocabulary that was consistent with many mid-century composers, and demonstrated an affinity for African American spirituals While few of her works were recorded, that heard tonight is an exception . A Short Piece for Small Orchestra was showcased by the New York Philharmonic, albeit in a version for a larger ensemble, and was recorded in Lincoln Center in 1965 .

Perry’s nine-minute work is built of three distinct sections, opening with a highly syncopated orchestra outburst that frames the first, and by far the longest, section . Perry makes masterful use of the entire orchestra, particularly in her expressive use of the winds and energetic writing in the strings and percussion . Among Perry’s pervasive techniques is the ostinato, short, repeating patterns . These building blocks are found throughout the orchestra, threading their way throughout this first section . A return of the opening is followed by a bridge to the contrasting, slower, middle section . Here Perry relies on sustained winds and strings to create a mysterious, foreboding atmosphere . Before long, however, we find ourselves thrust suddenly back into the turbulent character of the beginning, as jaunty syncopations rush us home with a final outburst by the entire band .

Ludwig van Beethoven (1770-1827):

Piano Concerto No. 4 in G Major, Op. 58

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

Composed: 1805-1806

Duration: 34 minutes

Ludwig van Beethoven burst onto the Viennese musical scene in 1792 . He had been to the city once before, but rushed back to his native Bonn on account of his dying mother . The next time he appeared in the Austrian capital, he stayed for good, stubbornly making his presence known . If Schubert, his younger Viennese contemporary, struggled to find acceptance within the city’s sophisticated musical circles, Beethoven all but smashed his way in He refused to kowtow to the aristocracy, believing nobility was earned, not inherited, and until his compositions won over the city, his piano playing would do his talking for him . Indeed, while Beethoven was already among Europe’s most impressive keyboard virtuosi, his manner with the

instrument did not reflect the refinement of most players . Rather, he approached it as he did life, with uncommon sensitivity on one hand and—when that wasn’t sufficient to get his meaning across—sheer force on the other . Suffice it to say, the Viennese had never heard anything like it .

The years 1805-6, those that gave birth to Beethoven’s Fourth Piano Concerto, were among the most productive of the composer’s life . By now he had also accepted the truth about his impending deafness, and his 1808 performance of this concerto proved his last as an orchestral soloist . It took place on a mammoth program that also included Beethoven’s Choral Fantasy and the Fifth and Sixth Symphonies All were revolutionary in their own way, for Beethoven seemed to be bucking one musical tradition after another . And nowhere was this more evident than in the very first bars of his G Major Piano Concerto

Beethoven opens with the soloist alone, playing a rather simple series of G major harmonies . The lack of an orchestral introduction was striking enough, but given Beethoven’s well-known temperament and explosive music making, this understated opening must have taken his audience completely off guard . The piano then leaves off, as the orchestra enters in a hushed pianissimo, and in the distantly related key of B major, the effect of which is spine-tingling! Still, the introductory bars are something of a diversion, for the orchestra now pursues a more traditional course and offers up ideas to be developed once the soloist rejoins the event . Beethoven’s score is both brooding and noble, like the man himself, and while he could spin a tune with the best of them, he often moves in other directions, sometimes fashioning a distinctive atmosphere out of seemingly nothing or obsessing over a tight rhythmic motive, which he then exploits to its fullest . Through it all, we find ourselves drawn along by Beethoven’s power of expression and his unsurpassed ability to capture the human spirit in sound The poignant Andante con moto is unique in Beethoven’s

oeuvre as regards the role of the orchestra and soloist, for rather than engaging in conversation, the forces remain stubbornly set apart from one another . Beethoven’s 1859 biographer understood this autonomy as Beethoven’s attempt to invoke Orpheus’ taming of the furies, in his effort to rescue his beloved Eurydice . Accurate or not, the interpretation feels right . The movement closes on a heartrending suspension, then segues directly into the sublime, if more traditional, rondo finale . The movement is, in sum, a superb example of the composer’s heroic, middle period, with all the explosive drama, stirring expression, and virtuosic passagework that made Beethoven, Beethoven .

Franz Schubert

(1797-1828):

Symphony No. 2 in B-flat Major, D. 125

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

Composed: 1814-1815

Duration: 29 minutes

Franz Schubert is an inexplicable musical meteor who flashed across Vienna’s 19th century sky, then disappeared before anyone had a chance to truly appreciate what he had to offer The Viennese, along with the rest of the world, eventually came to recognize the genius who spent precious little time doing what he was meant to do—compose—but by then Schubert’s thirty-one years were over Like Mozart, what he left behind defies comprehension: operas, religious music, volumes of chamber music for myriad combinations of instruments, over 600 art songs (a fraction of which alone would have guaranteed Schubert’s posthumous reputation among western music’s compositional elites), and, of course, symphonies .

Like any proper Viennese composer, Schubert took most seriously the classical four-movement symphonic genre . Indeed, his Second Symphony was composed

even before Schubert had given himself over to composition at the expense of all else (including, for all intents and purposes, making a living) . It springs from around the year 1814, a rather frustrating time for the seventeen-year-old Schubert who had taken up employment at his father’s school teaching the youngest class of students . In time it became only too evident that standing before a classroom was not how the budding composer was meant to spend his days . Eventually Schubert would dedicate himself entirely to his craft but a lack of both money and time all but guaranteed that “Schwammerl,” or Little Mushroom, as he was known affectionately among his small circle, would fall short of the notoriety that was his due .

The Second Symphony, then, might be viewed in the light of an up-and-coming composer, who already possessed impressive musical tools but was also absorbing what he heard around him in Vienna’s theaters . Evidence of Haydn and Beethoven, for instance, are present in the slow introduction . Then there is the spirited opening theme of Schubert’s Allegro vivace, which seems too closely modeled upon the start of Beethoven’s Overture to Creatures of Prometheus to be mere coincidence . What is worth noting, however, is that rather than develop small ideas, a technique that both his Viennese mentors profoundly exploited, Schubert tends to let the longer arches of melodies do his work for him, by running them through unexpected keys . Fortunately for us, there has never been a greater melodicist!

Schubert again demonstrates minimal manipulation of his theme in the Andante’s theme and variations, preferring to alter the character by way of tone color and key . The melody itself, lilting and naive, is vintage Schubert, somehow managing to balance Hapsburg formality with a flair of the folk style found beyond the old city walls . The darker fourth variation, in C minor, is perhaps the most noteworthy of the set, for here Schubert bumps the tempo up by way of triplets and presages the key of the Menuetto . The dramatic opening of this latter movement offers a great example of Schubert’s penchant for sudden and striking shifts of key: listen how the dark opening of the raucous tripletime theme comes to rest in the sunny atmosphere of E-flat major just a few bars later (Schubert will vacillate between these modes for the rest of the minuet proper) .

The 2/4 finale, a gallop simply marked Presto, contains many of the ingredients of the “mature” Schubert, including glorious melody, a brilliant balance of winds and strings, sparkle and drive Following its completion, Schubert may have pulled together enough musicians to read through the composition, to learn what he could from his efforts, but it was never played again in his lifetime The world had to wait until 1877 before hearing it for the first time, when it was publicly performed in London’s Crystal Palace, and another decade still before this bubbling, youthful work finally made its way into print .

© Marc Moskovitz

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Meet the Musicians

Current

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, 24 years

The Michael Jones & Jody Croley Jones Chair

Current Residence: Phoenix, AZ

Jennifer Ross principal second, 6 years

The Brachman Smith Family Chair

Current Residence: Jackson, WY

Victoria Moreira violin, 9 years

The Dyann & E Joel Wesp Chair

Current Residence: Chicago, IL

Amy Cave violin, 9 years

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

Solomon Liang violin, 5 years

The Laurie & Thomas W Hill Chair

Current Residence: Columbus, OH

Rebecca Willie assistant concertmaster, 9 years

The Joan M Herbers Chair

Residence: Greensboro, NC

Heather Kufchak* violin, 13 years The Deborah Raita Chair

Current Residence: Ashland, OH

William Manley 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

Eric Kline violin, 12 years

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

Current

The

Current Residence: Columbus, OH

Current Residence: Cincinnati, OH

Current

The

Current

The

The

Nat Chaitkin cello, 16 years

The William K Laidlaw Chair

Joel Becktell cello, 15 years

The Donna K Laidlaw Chair

Residence: Albuquerque, NM

Cora Kuyvenhoven cello, 23 years

The Bob & Mary Frances Restrepo Chair

Stephen Goist viola, 9 years

The Keith F. & Katherine B Dufrane Trust Chair

Residence: New York, NY

Mary Harris viola, 28 years

The Margaret & Jerome Cunningham Chair

Current Residence: Oxford, OH

Marc Moskovitz principal cello, 29 years

The Barbara Trueman Chair Current Residence: Durham, NC

John Pellegrino principal double bass, 12 years

John F Brownley Chair

Residence: Columbus, OH

Patrick Bilanchone* double bass, 7 years

The Kathryn D . Sullivan Chair

Current Residence: Jacksonville, FL

Ilya Shterenberg principal clarinet, 6 years

The Beth Grimes-Flood & Tom Flood Chair

Current Residence: San Antonio, TX

Jennifer Magistrelli clarinet, 12 years

Jack & Betsy Farrar Chair Current Residence: Richfield, OH

Nadine Hur principal flute, 3 years

The Dana Navin Schultz Chair Current Residence: St Louis, MO

Anthony Trionfo+ flute, 3 years

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

Jessica Smithorn oboe, 5 years

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

Michael Isaac Strauss viola, 8 years

Anne Powell Riley Chair Current Residence: Oberlin, OH

Donna Conaty principal oboe, 34 years

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

Stephanie Blaha principal horn, 6 years

The Todd S Swatsler Chair

Current Residence: Wadsworth, OH

Matthew Oliphant + horn, 1 year

The Denise & Barry Blank Chair

Current Residence: Chicago, IL

Timothy Leasure trumpet, 20 years

The William & Wendy Faust Chair

Current Residence: Pickerington, OH

Renee Keller principal timpani and percussion, 10 years

The Susan C Johnson Chair

Current Residence: Lima, OH

Rajesh Prasad percussion, 10 years

The Bob Redfield & Mary Yerina Chair

Current Residence: Raleigh, NC

Jeanne Norton principal harp, 44 years

The Sustaining Board Chair

Current Residence: Columbus, 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

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

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 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

Diane McLin

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

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

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.

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 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 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 Jessica Davis

Jeff and Linda Davis

In Honor of Lynn Elliot

Jill Levy

In Honor of Stephen Fechtor

Amy Thompson

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 Honor of Dr. James Ginter

Mabel Freeman

In Memory of Larry Herman

Retta and Elliot Slotnick

In Honor of Suzanne Karpus

Susan Quintenz

In Honor of Matt Kurk

Kimberlee Goodman

In Memory of Barbara Lambert

David Lambert

In Honor of Marc Moskovitz

Nancy Buchanan

In Memory of Maxine McLeod

Lisa and Michael Maggard

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 .

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 Jaffee

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

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

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