2024 25 SEASON
Excellence
The CORE Group proudly supports ProMusica Chamber Orchestra
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Senior Vice President–Wealth Management
Thomas P. Reusser, CFP®
Senior Vice President–Wealth Management
Jason Hull, CFP®, ChFC®
Senior Vice President–Wealth Management
Jessica Penza, CFP® Financial Advisor The CORE Investment Group UBS Financial Services Inc. 5007 Horizons Drive Upper Arlington, OH 43220 614-460-6554
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From the Tom Battenberg & Helen Liebman Chair Chief Executive Officer
Welcome to our 2024-25 season!
We look forward to another great year of passionate performances, brilliant soloists, and glorious music making.
This year, we will experience new musical voices through the artistry of the graceful pianist Yeol Eum Son, tenor Daniel McGrew, and cellist Jeffrey Zeigler. The orchestra deepens our longtime commitment to championing composers and diverse voices of today with the exciting premieres our 71st and 72nd commissions—a new cello concerto by friend and composer Andy Akiho, and a co-commission with Carnegie Hall and The Knights featuring Columbus-native pianist Aaron Diehl, performing Michael Schachter’s Rhapsody, celebrating the 100th anniversary of Gershwin’s Rhapsody in Blue. The Capital University Chapel Choir joins as a new collaborator, and this year, our friend Paul Rissmann partners with Creative Partner Vadim Gluzman for our popular NAKED CLASSICS. We kick off the season to present for the first time Kurt Weill’s masterpiece, The Seven Deadly Sins featuring vocalist Storm Large, of Pink Martini fame. The entire year will radiate energy, excitement, connection, and joy that can only be experienced together through live music.
With artistic risk, there is great musical reward. It is a privilege to share our music with you, and we thank you for sharing your evening with us. Please join us all season long to experience the continued 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 70 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
David Danzmayr
Described by The Herald as “extremely good, concise, clear, incisive and expressive,” David Danzmayr is widely regarded as one of the most exciting European conductors of his generation.
Danzmayr is in his third season as Music Director of the Oregon Symphony, having started his tenure there in the orchestra’s 125th anniversary season . He also stands at the helm of the versatile ProMusica Chamber Orchestra of Columbus, Ohio, an innovative orchestra comprised of musicians from all over the United States .
In addition, he holds the title of Honorary Conductor of the Zagreb Philharmonic Orchestra He served as the group’s Chief Conductor, leading the Zagreb musicians on several European tours and in concerts at Salzburg Festival Hall, where they performed the prestigious New Year’s concert, and the Vienna Musikverein
David has won prizes at some of the world’s most prestigious conducting competitions including the International Gustav Mahler Conducting Competition and the International Malko Conducting Competition . In recognition of his successes, he has been awarded the Bernhard Paumgartner Medal by the Internationale Stiftung Mozarteum .
Propelled into a far-reaching international career, Danzmayr has quickly become a sought-after guest conductor . He has worked throughout the United States with the symphonies of Cincinnati, Minnesota, St Louis, Seattle, Baltimore, Atlanta, Indianapolis, Detroit, North Carolina, San Diego, Colorado, Utah, Milwaukee, New Jersey, the Pacific Symphony, Chicago Civic Orchestra, Houston Symphony, and Grant Park Music Festival
In Europe, David has led the Deutsche Kammerphilharmonie Bremen, City of Birmingham Symphony Orchestra, Bamberger Symphoniker, Sinfonieorchester Basel, Mozarteum Orchester, Essener Philharmoniker, Hamburger Symphoniker, Iceland Symphony Orchestra, Odense Symphony, Salzburg Chamber Philharmonic, Bruckner Orchester Linz, and the Radio Symphony Orchestras of Vienna and Stuttgart . He has served as Assistant Conductor of the Royal Scottish National Orchestra, performing in all the major Scottish concert halls and in the prestigious, Orkney based, St Magnus Festival
He frequently appears in the world’s most renowned concert halls, such as the Musikverein and Konzerthaus in Vienna, Grosses Festspielhaus Salzburg, Usher Hall Edinburgh, and the Symphony Hall in Chicago .
Danzmayr received his musical training at the University Mozarteum in Salzburg where, after initially studying piano, he went on to study conducting in the class of Dennis Russell Davies
He was also strongly influenced by Pierre Boulez and Claudio Abbado in his time as conducting stipendiate of the Gustav Mahler Youth Orchestra and by Leif Segerstam during his additional studies in the conducting class of the Sibelius Academy Subsequently, he gained significant experience as assistant to Neeme Järvi, Stephane Deneve, Sir Andrew Davis, and Pierre Boulez, who entrusted Danzmayr with the preparatory rehearsals for his own music .
Photo: Rick Buchanan Photography
The Elizabeth M. Ross Music Director
Creative Partner & Principal Guest Artist
The Wilson Family Chair
Vadim Gluzman
Universally recognized among today’s top performing artists, Vadim Gluzman breathes new life and passion into the golden era of the 19th and 20th centuries’ violin tradition. Gluzman's wide repertoire embraces new music, and his performances are heard around the world through livestreams, broadcasts and a striking catalogue of award-winning recordings on BIS, Platoon and EuroArts labels.
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 the Chicago Symphony and London Philharmonic; Riccardo Chailly with the Royal Concertgebouw Orchestra and the Gewandhaus Orchestra, Santtu-Matias Rouvali with Gothenburg Symphony and Philharmonia Orchestra, as well as with the Cleveland Orchestra under the batons of Hannu Lintu and Michail Jurowski. He appears at Ravinia, Tanglewood, BBC Proms, Grant Park and the North Shore Chamber Music Festival, which he founded in 2011.
Gluzman starts the 2024/25 season with his return to the Grant Park and Colorado Music Festivals, followed by performances with the Gewandhaus, NDR Elbphilharmonie, and the Bavarian Radio Orchestras, Solistes Européens Luxembourg, as well as Pittsburgh, Vancouver and New Jersey Symphony Orchestras. He continues to lead performances with 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 continues to introduce the new violin concerto by Erkki-Sven Tüür “Dialogues with the Unknown”, commissioned for Gluzman by the HR Frankfurt Radio Orchestra and the Oregon 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
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 or visit www.promusicacolumbus.org .
OUR MISSION
About the Orchestra
ProMusica and our 37 musicians are redefining what it means to be a chamber orchestra. For four decades, ProMusica’s programs have honored the classics and celebrated the contemporary through worldclass performances and creative approaches to musical storytelling.
Led by Music Director David Danzmayr and Creative Partner Vadim Gluzman, renowned violinist, the orchestra reaches a broad audience across the city—as the resident orchestra at the intimate Southern Theatre in downtown Columbus, and at notable venues beyond the I-270 outer belt . In 2017, ProMusica made its Chicago debut performing for a soldout crowd at the North Shore Chamber Music Festival Most recently, in May 2024, the orchestra collaborated with the award-winning artist, composer, multi-instrumentalist, and visionary Jon Batiste for a two-day musical residency, which included the world premiere of this first piano concerto .
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
To deliver a world-class chamber orchestra experience through: Innovative programming, Audience intimacy, Exceptional talent & Artistic excellence
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 72 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” gives 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!
Board of Trustees and Administration
OFFICERS
President Lavea Brachman, Brookings Institution
Past-President Bob Redfield, Civic Leader
Vice-President Nancy Falk, Civic Leader
Vice-President Joan Herbers, The Ohio State University
Vice-President Christine Kullberg, Cardinal Health
Vice-President Susan Lubow, BakerHostetler
Treasurer Elizabeth Turrell Farrar, Civic Leader
Secretary Elizabeth Moyo, Porter, Wright, Morris & Arthur LLP
TRUSTEES
Nelson D. Cary, Vorys, Sater, Seymour and Pease LLP
Lynn Elliott, Columbus Window Cleaning
+ William Faust, Ologie
+ Adam Ferguson, Huntington Bank
Jake Gibson, Bank of America
David Hedgecoth, The Ohio State University
Laurie Hill, Civic Leader
Stephen Keyes, Abercrombie & Fitch
Eric Kline, ProMusica Musician Representative
Samuel H. Porter, III, Ice Miller LLP
Susan Quintenz, Civic Leader
Julie A. Rutter, American Electric Power
Peyman Salehi, Fifth Third Bank
Lee Shackelford, Physician
Caitlin Sherman, JewishColumbus
Mark Sholl, Hilliard City Schools
Lydia Smith-Lockwood, Upper Arlington City Schools
+ Todd Swatsler, Partner (retired), Jones Day
EX-OFFICIO
Janet Chen, Chief Executive Officer
The Tom Battenberg & Helen Liebman Chair
David Danzmayr, Music Director
The Elizabeth M. Ross Music Director
Mary Oellermann, 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
Carolyn Caldwell Grants Consultant
Lane Champa Play Us Forward Coordinator & Lead Instructor
Dave Humeston Ticketing & Data Services Manager
Suzanne Jennison Orchestra & Operations Manager
Matthew Kurk Director of Advancement & Engagement
Brittany Lockman Director of Marketing
Austin Spillman Operations & Education Assistant
Mariana Szalaj Music Librarian
TRUSTEES CIRCLE
Artie Isaac, Chair
Deborah Anderson
Tom Battenberg
Milt Baughman
Martin Campbell
Mark Corna
Peter Costanza
Jim Elliott
Beverley Ervine
Jim Ginter
Melissa Ingwersen
Katherine Borst Jones
Suzanne Karpus
Donna Laidlaw
Boyce Lancaster
Mary Lazarus
Peggy Lazarus
Nancy Marzella
Dr . William Mitchell
Bernie Yenkin
We proudly support ProMusica, delivering inspiring performances, engaging diverse audiences and breaking new ground in chamber music for more than 40 years.
bakerlaw.com
Sustaining Board
Since 1988, members of the ProMusica Sustaining Board have volunteered to raise community awareness and funds for the orchestra. Our membership and events help sustain ProMusica’s artistic and education programs. Annual membership dues are $50 (Musician), $125 (Principal) and $200 (Concertmaster). Join us and be part of this legacy!
EXECUTIVE COMMITTEE
Mary Oellermann
President
Marianne Mottley
Vice President
Marquell Segelken
Secretary
Michael Maggard
Treasurer
PAST PRESIDENT ADVISORS
Yvonne Burry
Betty Giammar
Donna Laidlaw
Bob Redfield
Laurie Schmidt-Moats
Mary Yerina
APPOINTMENTS
Sally Baughman and Mary Oellermann
Culinary Capers
Mark Butler
Electronic Services
Yvonne Burry
Historian
Judy Michaelson Marketing
Donna Cavell and Jennifer Markovich
Membership
Jennifer Markovich Newsletter
Laurie Schmidt-Moats
Nominating
Marianne Mottley
Special Events
Rose Hume
Sunshine
MEMBERS-AT-LARGE
Beverley Ervine
Paul George
Barbara Goettler
Steven Hillyer
Boyce Lancaster
Barry Liss
Thom O’Reilly
Lee Shackelford
Dyann Wesp
CONCERTMASTER MEMBERS
Jordan Andrews Anonymous
Sally Baughman
Meredith Bonham*
John Brownley*
Daniel Burry
Richard Burry
Yvonne Burry
Sandy Byers
Donna Cavell
Janet Chen
Marilee Chinnici-Zuercher
Darci Congrove
Harriet Donaldson
Ellen Kay Douglas
Beverley Ervine
Arianna Galligher*
Paul George
Betty Giammar
Barbara Goettler
Beth Grimes-Flood
Laurie Hill
Steven Hillyer
Jody Croley
Thomas O’Reilly
Dorothy Pritchard
Susan Quintenz
Deb Raita
Subha Raman* Bob Redfield
Stephanie Riedmiller Robert Rutter
Stephanie Stephenson
Jody Wasbro*
Robert Wing
Miriam Yenkin
Mary Yerina
PRINCIPAL MEMBERS
Claudia Abrams
Susan Altan*
Peg Bainbridge
Kim Bingle
Nancy Brownell
Mark Butler
Nancy Edwards
Barbara Elliott
Lynn Elliott
Marion Fisher
Ellen George
Rose Hume
Angela LaMonte*
Adele Lipari*
Andrew Maggard
Marybeth McDonald
Susan McDonough
Diane Meves*
Clare Reter*
Jude Reter*
Eileen Ryan*
Hugh Schultz
Marquell Segelken
Gail Walter
Dyann Wesp
Margie Williams
Becky Wright
Serie Zimmerman
MUSICIAN MEMBERS
Dale Abrams*
Ann Boeckman*
Ellen Bowden
Gwen Burt*
Georgeann Corey*
Barbi Crabill
Lindsey Dunleavy
Nancy Falk*
Elizabeth Turrell Farrar
Elayne Gunder
Melissa Ingwersen*
Joan Kirschner
Linda Kurtz
Barbara Ludwig*
Cindy Mackin
Jan Quatman
Anne Powell Riley
Lillian Zarzar*
* New member
Honorary Member
Judy Pishitelli
For her noteworthy contributions to the ProMusica Sustaining Board
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 Sam Porter for his board service, Ice Miller is proud to support ProMusica Chamber Orchestra and its commitment to the Columbus community through the power of music. Our law firm supports more than 100 non-profit organizations throughout our region.
350+ lawyers in Columbus and beyond
Hudson Shad
Though the six-man ensemble Hudson Shad (five singers and a pianist) debuted officially in 1992, their nucleus formed in 1977 when three of them made their Carnegie Hall debuts as soloists in Penderecki’s Magnificat . In 1989, the Arts at St Ann’s in Brooklyn asked bass Wilbur Pauley to contract a quartet to perform as The Family in Kurt Weill’s The Seven Deadly Sins with Marianne Faithfull . The response was favorable .
Over more than three decades, the Hudson Shad quartet has racked up more performances as The Family in The Seven Deadly Sins than any other group in history . They have sung in almost eighty different locations, from Arezzo to Zagreb, numbering well over one hundred performances worldwide . They participated in a staging of the work, in a double bill with Weill’s Der Lindbergflug, at the Macerata Festival in Italy They have thrice recorded the work: with Kurt Masur and the New York Philharmonic; with Ms Faithfull and the RSO-Wien conducted by Dennis Russell Davies; and with Storm Large and the Oregon Symphony under Carlos Kalmar . In 2008, Hudson Shad was honored to participate in the Carnegie Hall premier of the work, with Ute Lemper and the Toronto Symphony
Other orchestra appearances by Hudson Shad have featured more Weill: Kleine Mahagonny with the St Paul Chamber Orchestra; Aufstieg und Fall der Stadt Mahagonny at the Salzburg Festival . The Schubert bicentennial in 1997 found Hudson Shad returning to the New York Philharmonic for orchestral works with men’s voices, and they arranged Schubert songs using the Max Reger orchestrations with the Bruckner Orchestra in Linz Hudson Shad debuted as Wild Things in Oliver Knussen’s Where The Wild Things Are, conducted by the composer They have developed their own English translation of Stravinsky’s Renard and have performed it at the Miyazaki Festival and the Saratoga Performing Arts Center under Charles Dutoit They sang in Philip Glass’ Fall of the House of Usher (double-billed with Sins) at the Calgary Philharmonic Orchestra, and they appeared with the Cincinnati Pops Orchestra as the barbershop quartet in The Music Man
In 1999, Hudson Shad starred in the musical Band In Berlin at the Helen Hayes Theater on Broadway, in a tribute to the legendary German singing group, The Comedian Harmonists .
Recent performances include the Sins with Storm Large at the Princeton Festival in 2022 and with the Oregon Symphony in 2019; Sins with the Shanghai Symphony and Maestro Dutoit in July 2019; Sins on a tour of Germany with the Kammerakademie Potsdam and Ms . Lemper in October 2019 . Hudson Shad debuted at the Tanglewood Festival in 2019 in a Charles Ives program with the pianist Jeremy Denk
These performances with ProMusica Chamber Orchestra, in Columbus, mark the eighteenth location for the Shad family unit with Storm Large since their initial encounter at the Ojai Festival in 2014 . Their debut in Ohio took place in 2018 with the Toledo Symphony
The members of the Hudson Shad quartet are: Mark Bleeke, tenor; Eric Edlund, baritone; Peter Becker, bass/baritone; Wilbur Pauley, bass
Storm Large
Storm Large: musician, actor, playwright, author, awesome . She shot to national prominence in 2006 as a finalist on the CBS show Rock Star: Supernova, where despite having been eliminated in the week before the finale, Storm built a fan base that follows her around the world to this day She was seen on the 2021 season of America’s Got Talent
Storm spent the ‘90s singing in clubs throughout San Francisco . Tired of the club scene, she moved to Portland to pursue a new career as a chef, but a last-minute cancellation in 2002 at the Portland club “Dante’s” turned into a standing Wednesday night engagement for Storm and her new band, The Balls It wasn’t long before Storm had a cult-like following in Portland, and a renewed singing career that was soon to be launched onto the international stage
In the 2018-19 season, Storm performed her one-woman autobiographical musical memoir Crazy Enough at La Jolla Music Society and Portland Center Stage, celebrating the show’s ten-year anniversary Recent engagements include debuts with the Philly Pops, members of the Chicago Symphony Orchestra, and the Seattle Symphony, as well as return engagements with the Houston, Detroit, Toronto, and BBC Symphonies; the New York Pops; and the Louisville Orchestra, with whom she recorded the 2017 album All In. Storm continues to tour concert halls across the country with her band Le Bonheur and as a special guest on Michael Feinstein’s Shaken & Stirred tour Alongside Liza Minnelli and Joel Grey, Storm joined Michael Feinstein as special guest with the Pasadena Pops
Storm made her debut as guest vocalist with the band Pink Martini in April 2011, singing four sold-out concerts with the National Symphony Orchestra at the Kennedy Center in Washington, DC She continues to perform with the band, touring nationally and internationally, and she is featured on their album Get Happy . Storm has also sung with Grammywinner k d lang, pianist Kirill Gerstein, punk rocker John Doe, singer/songwriter Rufus Wainwright, and Rock & Roll Hall of Famer George Clinton .
She debuted with the Oregon Symphony in 2010, and has returned for sold out performances each year thereafter Storm made her Carnegie Hall debut in 2013, singing Weill’s The Seven Deadly Sins with the Detroit Symphony as part of the Spring for Music Festival . The NY Times called her “sensational,” and the classical music world instantly had a new star
In 2007, Storm starred in Portland Center Stage’s production of Cabaret with Wade McCollum The show was a smash hit, earning Large glowing reviews . Her next endeavor, the musical memoir Crazy Enough, played to packed houses in 2009 during its unprecedented 21-week sold-out run in Portland Storm went on to perform a cabaret version of the show to critical acclaim at the Edinburgh Fringe Festival, Adelaide Festival in Australia, and Joe’s Pub in New York Her memoir, Crazy Enough, was released by Simon and Schuster in 2012, named Oprah’s Book of the Week, and awarded the 2013 Oregon Book Award for Creative Nonfiction
Storm is featured in Rid of Me, a film by Portlander James Westby, starring Katie O’Grady and Theresa Russell In 2010, she starred at the Mark Taper Forum with Katey Sagal and Michael McKean in Jerry Zak’s production of Harps and Angels, a musical featuring the work of Randy Newman
In the fall of 2014, Storm & Le Bonheur released a record designed to capture their sublime and subversive interpretations of the American Songbook . Entitled simply Le Bonheur and released on Pink Martini’s Heinz Records, the recording is a collection of tortured and titillating love songs: beautiful, familiar, yet twisted … much like the lady herself .
Photo: Laura Domela
DAVID
DANZMAYR
THE ELIZABETH M. ROSS MUSIC DIRECTOR
VIOLINS
Katherine McLin, concertmaster
The Michael Jones & Jody Croley
Jones Chair
Rebecca Willie, assistant concertmaster
The Kathryn D. Sullivan Chair
Jennifer Ross, principal second*
The Brachman Smith Family Chair
**Amy Cave
The Randy & Marilyn Miller Chair
Eric Kline
The Jim & Ida Copenhaver Ginter Chair
Heather Kufchak
The Deborah Raita Chair
Solomon Liang
The Laurie & Thomas W. Hill Chair
William Manley
The Fran Luckoff Chair
Victoria Moreira
The Dyann & E. Joel Wesp Chair
Koko Watanabe
The Sallie J. Sherman Chair
VIOLAS
Elias Goldstein, principal
The Amy Thompson & Stephen Fechtor Chair
**Stephen Goist*
The Keith F. and Katherine B. Dufrane
Trust Chair
Mary Harris
The Margaret & Jerome
Cunningham Chair
Michael Isaac Strauss
The Anne Powell Riley Chair
VIOLONCELLOS
Marc Moskovitz, principal
The Barbara Trueman Chair
**Joel Becktell
The Donna K. Laidlaw Chair
Nat Chaitkin
The William K. Laidlaw Trust Chair
Cora Kuyvenhoven
The Bob & Mary Frances
Restrepo Chair
BASSES
John Pellegrino, principal
The John F. Brownley Chair
Boris Astafiev+
FLUTES
Nadine Hur, principal
The Dana Navin Schultz Chair Vacant
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 Burkey Family Chair
TRUMPETS
Andrew Jeng+ co-principal
Justin Kohan+
co-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
Anthony Trionfo flute
Pavel Vinnitsky clarinet
David Roode
trombone
Tony Zilincik tuba
Joseph Krygier percussion
Suzanne Newcomb piano
Dennis Hodges banjo and bass guitar
Julian Maddox violin
Carlos Chacon violin
Tea Prokes violin
Michael Molnau viola
Carrie Fischer viola
ORCHESTRA MANAGER
Suzanne Jennison
**Begins the alphabetical listing of string players who participate in a system of rotated seating.
*On leave for the 2024-25 season
+One year appointment
The Musicians of the ProMusica Chamber Orchestra are members of, and represented by, the Central Ohio Federation of Musicians, Local 103 of the American Federation of Musicians.
The Seven Deadly Sins
Storm Large, vocalist
Hudson Shad, vocal quartet
David Danzmayr, conductor
Southern Theatre // Saturday, September 28 // 7:00 PM
Southern Theatre // Sunday, September 29 // 7:00 PM
SCHUBERT Symphony No. 5 in B-flat Major
I . Allegro
II Andante con moto
III . Menuetto (Allegro molto) & Trio
IV . Allegro vivace
Intermission
Intermission lasts 15 minutes
WEILL The Seven Deadly Sins Prologue
(lyrics by Bertolt Brecht)
I Sloth
II . Pride
III . Anger
IV . Gluttony
V . Lust
VI Covetousness
VII . Envy Epilogue
Storm Large, vocalist (Anna)
Hudson Shad, vocalists (The Family)
Stay for Coda: Post-Concert Conversation . Meet Storm Large and David Danzmayr and learn more about tonight’s program . The Opening Weekend Champagne Toast is generously provided by:
September About the Music
Franz Schubert (1797-1828): Symphony No. 5 in B-flat Major, D. 485
Instrumentation: Scored for flute, pairs of oboes, bassoons, horns, and strings
Composed: 1816
Duration: 27 minutes
By the age of twenty, the Viennese-born Franz Schubert had already amassed a lifetime’s worth of work: singspiels (operettas), choral music, a half-dozen symphonies, various overtures and concert pieces, scores of solo piano, string sonatas, trios, and quartets, not to mention some 150 songs for voice and piano composed in the year 1815 alone! His modestly scored, masterful Fifth Symphony demonstrates both the young composer’s indebtedness to the classical style of Mozart and his already unsurpassed lyrical gifts .
The year 1816 was, for all intents and purposes, an unhappy year in Schubert's life . Though longing for recognition as a composer, he remained almost unknown outside his cadre of Viennese friends and colleagues, and despite an unrivaled level of productivity, Schubert found himself unable to secure work as a professional musician . To make ends meet, he served as an assistant schoolmaster, though lamenting the time such work stole from his composing . In April, he applied for a post as Director of Music in Laibach but was passed over for another composer of decidedly less ability . Perhaps more disappointing yet, that same April, a friend, acting on Schubert’s behalf, sent Goethe a batch of songs that Schubert had set to the author’s poetry . Included were some of the greatest songs Schubert—or anyone else, for that matter—ever composed, and a strong endorsement by a figure of Goethe’s stature could have significantly altered Schubert’s professional status . Sadly, no word from the famous writer was ever forthcoming . The year was marked by other critical events: a hopedfor marriage fell through, Schubert’s studies with Antonio Salieri concluded, and he resigned his teaching post Thus
began Schubert’s reliance on the goodwill of friends and acquaintances (which included offering the composer free lodging) Absolved of financial burdens, Schubert gave himself over completely to the world of musical composition
Such was the backdrop for the Symphony in B-flat, which was dashed off over several weeks and completed at the start of October 1816 The occasion for its composition appears to have been a performance at the musically flourishing residence of Otto Hatwig, which may help to account for Schubert’s chamber-sized instrumentation . But it was Mozart who most profoundly affected Schubert’s thinking at the time . Just three months prior, Schubert penned the following into his diary: “O Mozart! Immortal Mozart! What countless impressions of a brighter, better life hast thou stamped upon our souls!” Schubert had Mozart’s Symphony No . 40 specifically in mind while at work on his B-flat symphony, evident, for instance, in Schubert’s modest instrumentation (which, like Mozart, included a single flute but neither trumpets nor timpani) and his use of a minor-mode Minuet .
From the time he awoke until he went to bed, melodies flowed unceasingly from Schubert’s pen, which he scribbled down on whatever was at hand—manuscript paper, an envelope, a napkin . This lyric quality dominates his B-flat symphony from its very opening notes . Four gracious wind chords delicately introduce the sparkling theme of the cut-time Allegro, music, in the words of historian Brian Newbold, that pulses “with Mozartian esprit and Schubertian magic . ” A strongly aggressive transition finds full cadence, complete with a Mozart-inspired breath of silence, setting up the secondary theme, a suave idea stated by the violins and quickly usurped by the winds . The movement continues with thrilling passages, including brazen tonal shifts, dramatically climbing bass lines, and an exhilarating coda
If the simple perfection of the Andante reveals just how much the composer learned growing up and studying in Vienna, the wealth of color and mood found in the movement’s ever-surprising harmonies are vintage Schubert A middle section is marked by lovely dialogue between the violins and winds, but the tranquil atmosphere is eclipsed by a dramatic series of chords, the tension of which is only resolved with the sublimely embellished return of the opening material
Although Schubert labeled his third movement "Menuetto", there is little to suggest the atmosphere of the aristocratic ballroom To the contrary, he delivers a musical picture of the Austrian countryside, the boisterous opening theme perhaps inspired by heavy footwork of the male peasants, amidst a stormy rural landscape (complete with the plaintive oboe calls) and the pastoral trio, whose rustic setting is underscored by a folksy, if subtle, drone bass
The finale’s delightful opening evokes a youthful, innocent world, even if both subjects—the first joyful, the second enchanting—take unexpected detours into the darker, dramatic realm of B-flat minor . By the time Schubert recapitulates his ideas, he must have felt he had said enough, for he completely dispenses with a coda . The result is a picture-perfect conclusion to a model symphony, which would certainly have left Mozart, his Viennese idol, proud .
Kurt Weill (1900-1950): The Seven Deadly Sins
Instrumentation: Scored for soprano, vocal quartet (two tenors, bass and baritone), two flutes (with piccolo), oboe, bassoon, pairs of horns and trumpets, tuba, timpani, percussion, harp, piano, banjo, guitar, and strings
Composed: 1933
Duration: 35 minutes
When we think of the great musical collaborators for the stage, the pairings Ira and George Gershwin, Gilbert and Sullivan, Rogers and Hammerstein, or Lerner and Lowe probably spring to mind, at least among an “established” generation of listeners . That partnership pantheon should also include Kurt Weill and Bertolt Brecht, despite their fruitful time together lasting only a few short years . Weill and Brecht burst onto the scene in 1928, with the creation of Die Dreigroschenoper, The Threepenny Opera, a work that brought Weill longed-for financial independence and briefly allowed him to turn himself entirely to his craft . The journey had been long in coming .
Born in the German town of Dessau to a Jewish cantor, Weill’s musical talents were recognized early and by the age of 18, he was enrolled at the Berlin’s Hochschule für Musik . However, the hardships in the wake of The Great War forced Weill to return home and help support his struggling family . Back in Dessau, he worked as a répéteur at the local theater, composing all the while . He was eventually able to return to his studies in Berlin, where he was accepted into
the limited class of the highly sought-after pedagogue Ferrucio Busoni, who, along with Mahler, Schoenberg, and Stravinsky, proved among Weill’s strongest musical influences
Early on, Weill was forced to put his talents to work, first as a beer-tavern pianist and then as a teacher himself, but all that changed with the Berlin triumph of The Threepenny Opera Though treated to an initially poor reception, the work slowly gained success, as theaters across Germany began vying for performances By the time Weill was forced to flee Nazi Germany, the work had played over 10,000 times on European stages! Weill’s association with Brecht lasted for some three years, leading to the musical Happy End (1929) and the opera Rise and Fall of the City of Mahagonny (1930), until politics brought both Brecht and Weill (a Jew as well as a modernist) into the Nazi crosshairs
The pair met up again in Paris, where they were commissioned by the wealthy Englishman Edward James, to create Die sieben Todsünden, The Seven Deadly Sins . James saw a strong resemblance between Weill’s wife, Lotta Lenya (whose later silver-screen roles included the sadistic Rosa Klebb in the James Bond film From Russia with Love) and his own, the ballet dancer Tilly Losch . Thus, from the start, James’ commission was to feature a split-personality plot . The score that emerged, which the composer regarded as among his best, wove together Weill’s love of melody, musical irony, command of form (waltz, march, saltarello, etc .), and brilliant feel for orchestration . The plot’s overt social commentary, meanwhile, proved a fitting close to the Brechtian chapter of his life .
Weill and Lotte moved to New York in 1935, where the refugee composer made a study of the American musical and even collaborated, albeit briefly with both Gershwin and Hammerstein But despite some favorable results Weill’s artistic temperament was not for the American stage, and he never again scored the brilliant success he all-too-briefly claimed in pre-Nazi Germany The stamina required to attempt to re-invent himself on American shores ultimately proved more than Weill’s heart could handle and he died of a heart attack shortly after his fiftieth birthday Like so many of his German-Jewish contemporaries, in the end, Weill was both a product and a victim of his time
The score to the ballet chanté or sung ballet, The Seven Deadly Sins, was dispatched between April and May 1933 . In so many words, it tells the story of Anna, whose split personality is reflected in two Annas: Anna I, the practical realist with a conscience, portrayed by the singer, and Anna II, a dancer (whose role tonight will also be taken up by Storm Large), an impulsive beauty . Her exploitive family is sung by a male vocal quartet that serves the function of a Greek chorus, mirroring their hopes and dreams and Anna’s progress, or lack thereof . They send Anna away from their home on the banks of the Mississippi to earn her fortune in the big cities of America—each representing one of the seven sins—in hopes of her earning enough money to build them a house on the river in Louisiana
At the center of the six numbers (following the Prologue) stands ‘Gluttony,’ for the vocal quartet accompanied only by guitar The other numbers are scored for orchestra with the addition of banjo, harp, and piano For those listeners familiar with “Mack the Knife,” arguably Weill’s most famous number from The Threepenny Opera, keep an ear out for reminiscences in the fifth movement (Lust, marked moderato) The work’s “home” key is C major, the “simplest of all keys; perhaps Weill intended for “home” to appear simple while being deceptively complicated, demanding, or ruthless From there Anna is on her way, a route that will subject her moral, instinctive self to great demands and crises and ultimately sacrifice her “on the altar of a falsely orientated society . ”
Anna II attempts to follow her heart but is constantly reined in by Anna I, who, always practical, scolds her other half for committing each of the sins . By the end, Anna has accomplished her goal, having made the necessary money, but at what cost? She had set out free but has returned a slave to society . And, thus, Weill’s compact tragedy comes to an end . If it is not a happy end, who could blame him?
© Marc Moskovitz marcmoskovitz.org
Bank of America recognizes ProMusica Chamber Orchestra for its success in bringing the arts to performers and audiences throughout the community. We commend you on creating an opportunity for all to enjoy and share a cultural experience.
Bank of America recognizes ProMusica Chamber Orchestra for its success in bringing the arts to performers and audiences throughout the community. We commend you on creating an opportunity for all to enjoy and share a cultural experience.
Visit us at bankofamerica.com/Columbus
Bank of America recognizes ProMusica Chamber Orchestra for its success in bringing the arts to performers and audiences throughout the community. We commend you on creating an opportunity for all to enjoy and share a cultural experience.
Visit us at bankofamerica.com/Columbus
Visit us at bankofamerica.com/Columbus
©2023 Bank of America Corporation ENT-211-AD
©2023 Bank of America Corporation ENT-211-AD
©2023 Bank of America Corporation ENT-211-AD
Hilton Columbus Downtown is the largest hotel in Ohio featuring 1,000 rooms across two towers. Our award-winning property offers a total of six food & beverage outlets, including signature live-fire restaurant FYR Short North and Stories on High, a rooftop lounge sitting 28 stories over High Street. Creating a welcoming place to connect and share your stories is at the heart of everything we do, and you are the focus of our generous and Midwest hospitality.
Yeol Eum Son
Pianist Yeol Eum Son, born in South Korea, in 1986, is renowned for her exceptional artistry and captivating performances . Yeol Eum has captivated audiences worldwide with her boundless artistic exploration and profound musicality, establishing herself as one of the foremost pianists of her generation .
Across the 24/25 season, Yeol Eum makes orchestral debuts with the BBC Symphony at the Barbican Centre in London, Vienna Tonkünstler Orchestra at Vienna Musikverein, National Symphony Orchestra of Ireland, and the Los Angeles Philharmonic .
Yeol Eum’s past seasons’ collaborations include, the Konzerthaus Orchestra Berlin, Castilla y León, Spanish Radio and Television Symphony, BBC Philharmonic, and Royal Liverpool Philharmonic In North America and Australia Yeol Eum has recently made appearances with Detroit, San Diego, Sydney and Tasmania Symphony Orchestras
Yeol Eum's playing is marked by its poetic elegance, nuanced expressiveness, and a gift for conveying dramatic contrasts . Her artistry is underpinned by breathtaking technical prowess and a deep emotional connection to the music she interprets . She possesses an insatiable curiosity that drives her to explore a diverse range of musical genres and styles, always striving to reveal the pure essence of each piece .
Her extensive repertoire spans classical masterpieces by composers such as Bach and Mozart to contemporary works by Shchedrin and Kapustin, chosen for their quality and depth . Yeol Eum Son is highly sought after as a recitalist, concerto soloist, and chamber musician, earning critical acclaim for her intelligent interpretations .
Recent recital highlights include debut appearances at the Edinburgh International Festival, Rosendal and Risør Chamber Music Festival, and Singapore International Piano Festival, as well as return visits to the Helsingborg Piano Festival in Sweden, and Melbourne Recital Centre . In addition to Yeol Eum’s intense performance diary, she has an active recording schedule with Naïve Records .
DAVID DANZMAYR
THE ELIZABETH M. ROSS MUSIC DIRECTOR
VIOLINS
Katherine McLin, concertmaster
The Michael Jones & Jody Croley
Jones Chair
Rebecca Willie, assistant concertmaster
The Kathryn D. Sullivan Chair
Jennifer Ross, principal second*
The Brachman Smith Family Chair
**Amy Cave
The Randy & Marilyn Miller Chair
Eric Kline
The Jim & Ida Copenhaver Ginter Chair
Heather Kufchak
The Deborah Raita Chair
Solomon Liang
The Laurie & Thomas W. Hill Chair
William Manley
The Fran Luckoff Chair
Victoria Moreira
The Dyann & E. Joel Wesp Chair
Koko Watanabe
The Sallie J. Sherman Chair
VIOLAS
Elias Goldstein, principal
The Amy Thompson & Stephen Fechtor Chair
**Stephen Goist*
The Keith F. and Katherine B. Dufrane
Trust Chair
Mary Harris
The Margaret & Jerome
Cunningham Chair
Michael Isaac Strauss
The Anne Powell Riley Chair
VIOLONCELLOS
Marc Moskovitz, principal
The Barbara Trueman Chair
**Joel Becktell
The Donna K. Laidlaw Chair
Nat Chaitkin
The William K. Laidlaw Trust Chair
Cora Kuyvenhoven
The Bob & Mary Frances
Restrepo Chair
BASSES
John Pellegrino, principal
The John F. Brownley Chair
Boris Astafiev+
FLUTES
Nadine Hur, principal
The Dana Navin Schultz Chair
Vacant
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 Burkey Family Chair
TRUMPETS
Andrew Jeng+ co-principal
Justin Kohan+
co-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
Megan Amos horn
David Roode trombone
Michael Charbel trombone
Chad Arnow
bass trombone
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 2024-25 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.
Beethoven's Emperor
Yeol Eum Son, piano
David Danzmayr, conductor
Southern Theatre // Saturday, November 9 // 7:00 PM
Southern Theatre // Sunday, November 10 // 7:00 PM
MONTGOMERY Strum for String Orchestra
BEETHOVEN Piano Concerto No. 5 in E-flat Major, “Emperor”
I . Allegro
II . Adagio un poco moto
III Rondo (Allegro ma non troppo)
Yeol Eum Son, piano
Intermission
Intermission lasts 15 minutes
SCHUBERT Symphony No. 8 in B Minor, “Unfinished”
I . Allegro moderato
II . Andante con moto
J. STRAUSS JR. Emperor Waltz, Op. 437
Stay for Coda: Post-Concert Conversation Meet Yeol Eum Son and David Danzmayr and learn more about tonight’s program
November About the Music
Jesse Montgomery (b. 1981): Strum
Instrumentation: Scored for string orchestra
Composed: 2006, rev . 2012
Duration: 8 minutes
Raised in New York City’s Lower East Side, composer Jesse Montgomery got her start as a violinist and continued her studies at Juilliard, where she took a bachelor’s degree . By 2012, however, her interest had swung toward composition and her subsequent trajectory as a composer has been nothing less than meteoric Commissioning institutions include the Chicago Symphony Orchestra, The Metropolitan Museum of Art, the Orpheus Chamber Orchestra, and the Sphinx Organization . She has received grants from the ASCAP Foundation, Chamber Music America, and the American Composers Orchestra, among other organizations, and her work has been performed by such prominent ensembles as the Royal Concertgebouw Orchestra, the Philharmonia Orchestra, Atlanta Symphony, Dallas Symphony, and the San Francisco Symphony In short, Montgomery has become one of America’s most prominent living composers
Jesse describes Strum as follows:
“Originally conceived for the formation of a cello quintet, the voicing is often spread wide over the ensemble, giving the music an expansive quality of sound Within Strum I utilized texture motives, layers of rhythmic or harmonic ostinati that string together to form a bed of sound for melodies to weave in and out The strumming pizzicato serves as a texture motive and the primary driving rhythmic underpinning of the piece Drawing on American folk idioms and the spirit of dance and movement, the piece has a kind of narrative that begins with fleeting nostalgia and transforms into ecstatic celebration ”
Montgomery arranged Strum for string quartet in 2008 It has since become one of her most frequently heard compositions The version heard tonight, for string orchestra, incorporates double bass .
Ludwig van Beethoven (1770-1827):
Piano Concerto No. 5 in E-flat Major, Op. 73, “Emperor”
Instrumentation: Scored for pairs of flutes, oboes, clarinets, bassoons, horns, and trumpets, timpani, and strings
Composed: 1809
Duration: 38 minutes
Ludwig van Beethoven harbored a complicated, lifelong, love-hate relationship with the nobility . On the one hand, he disdained much of what the aristocracy stood for (domination over the commoner), though he also harbored the erroneous belief that he sprang from noble stock . Beethoven also maintained that his artistry placed him on equal footing—or higher still—as those born with aristocratic titles . Yet as a workaday composer, he was also dependent upon the goodwill and financial support of the nobility; unlike earlier generations of composers who took orders from or worked for the aristocracy or the church, Beethoven broke free of this mold, believing—and largely succeeding—that he should be in control of his destiny, yet supported by others . It was a needle nearly impossible to thread yet somehow Beethoven pulled it off
This push and pull with the Austrian elite came to a head in the year 1809, when Beethoven, one of Europe’s greatest pianists and composers, threatened to leave Austria for Kassel, the capital of Westphalia where Napoleon had installed his brother Jérôme as king In January of that year, the thirty-nine-year-old Beethoven accepted an offer from Jérôme to serve as his city’s Kapellmeister or director of music But shortly thereafter, Beethoven commenced negotiations with several Viennese patrons, hoping to remain in Vienna
Once the annuity was established, Beethoven got down to business, and in or around April, he brought work on the E-flat concerto to completion Unfortunately, around the time Beethoven was putting the final touches on his manuscript, Austria declared war on France Within a month the French army had Vienna surrounded and began bombarding the capital Beethoven took refuge in his brother’s basement, writing to his publisher that there was "nothing but drums, cannons, men, misery of all sorts" around him He covered his head with pillows to preserve what little was left of his hearing .
Beethoven dedicated his 73rd opus to Archduke Rudolph, among the composer’s staunchest and most steadfast benefactors Besides the concerto, Beethoven ultimately dedicated 14 compositions to Rudolph, including the Archduke Trio, the Hammerklavier Sonata, the Missa Solemnis, and his Piano Sonata No . 26, Les Adieux or “Farewell,” a work written to mark Rudolph’s departure from Vienna during the bombardment . Unfortunately, it would be another two years before the concerto received its premiere, by which time Beethoven could no longer hear well enough to perform the work himself
While there is no consensus regarding the origins of the epithet, “Emperor,” there is no disagreement about the composition’s magisterial character It is cast in Beethoven’s “heroic” key of E-flat and possesses a martial quality and breadth (the first movement is the longest of any of his piano concertos) True to Beethoven’s revolutionary traits, the concerto also blazes a progressive path, one that signaled the coming of the Romantic age The concerto opens, for instance, with a series of three triumphant orchestral chords, each answered in turn by a solo cadenza Not only has the expected orchestral introduction been pushed off, creating tremendous drama and expectation, but by doing so Beethoven broke with a tradition that he inherited himself, for he explicitly forbade his soloists from improvising these cadenzas (and which he controlled by writing it all out for all subsequent soloists) Only after the pianist has established the role as the unbridled hero do matters get underway, which they finally do with the Allegro’s propulsive first theme
The second movement, a nocturne, is among Beethoven’s most moving creations . We often imagine Beethoven as the quintessential temperamental musician, attacking the keyboard, creating tempestuous, explosive music, and refusing to take orders from his superiors . But listening to Beethoven’s muted strings and heartbreaking piano writing, we can also appreciate his passionate, compassionate side; like so much surrounding this musical giant, he was a man of complex contradictions Yet all too soon, this poignant slow movement seems to descend into another world: Beethoven is preparing to slip into the finale without pause, another signal that he is single-handedly heralding a new age .
For all his radical music-making, Beethoven also held tight to many traditions that made Vienna the musical capital of the Western world . Indeed, Beethoven concludes his concerto with a Rondo (framed by literal or nearly literal repetition of the opening material), a form to which Mozart, among
others, held tight . Beethoven spins out something that, on paper, can be reduced to A-B-A-C-A-B-A, though such a description hardly does justice to the overwhelming power of what transpires . Again, the start of the movement tells us much of what we need to know: the mysterious opening bars of the segue, a heroic piano theme that ushers in the movement proper, and finally, the martial orchestral answer that sets the tone for the robust finale . Beethoven may not have been at the keyboard for the work’s premiere, but his undeniable power, sensitivity, and spirit were—and remain—evident throughout .
Franz Schubert (1797-1828): Symphony
No. 8 in B Minor, D. 759, “Unfinished”
Instrumentation: Scored for pairs of flutes, oboes, clarinets, bassoons, trumpets, and horns, three trombones, timpani, and strings
Composed: 1822
Duration: 38 minutes
Few works in the symphonic literature have evoked as much mystery as Schubert’s “Unfinished” Symphony . Having completed two movements, Schubert sketched out ideas on the piano for a third, a scherzo, but never followed through . Neither did he pursue a fourth . Is it possible that having dispatched two miraculous movements, Schubert did not believe additional music would rise to the same level? It seems a ridiculous notion, given that Schubert dispatched some of his greatest music in the six years he still had to live . More likely, he became consumed with other compositional pursuits or simply felt following two triple-time movements with yet another, as would be typical of a minuet or scherzo, would be one ¾ time movement too many .
Work on the B minor Symphony progressed during the year 1822, a period marking the start of Schubert’s real musical maturity The previous year, having long labored for recognition within Vienna’s musical community, he was finally granted admission into the Gesellschaft Der Musikfreunde, The Society for the Friends of Music of Vienna, arguably Europe’s foremost society dedicated to musical performance This meant Schubert’s music could now be performed by professional players and garner official reviews For the twenty-five-year-old composer, that also meant acceptance and publicity Indeed, a year later he was awarded an honorary diploma from the Graz Music Society In gratitude, he sent the Society the two
movements of a B minor Symphony . It is unknown, however, whether this music was composed specifically for Graz or merely lay completed on his writing table .
Regardless of the circumstances, what the Graz organization received reflected the start of the Romantic music tradition . This included Schubert’s preference for long, spun-out melodies, rather than the development of small musical motives, as practiced by his Viennese predecessors Haydn, Mozart, and Beethoven And rather than relying so heavily on the violins, as earlier composers often did, Schubert assigned his material to a wide variety of instruments, thus enriching his orchestral palette
We can almost hear the approach to the symphony orchestra change within the Allegro moderato’s opening bars, as the hushed principal theme is ushered in by the celli and bassi alone Only after a completed statement do the violins enter, albeit not with a melody but rather a stirring accompaniment The second theme, among Schubert’s most well-known melodies, will again be given over to the celli In other words, Schubert is searching for new colors, rather than turning de facto to the fiddles, as he had done in his earlier symphonies
The sonata-form first movement is followed by a sonatina, that is sonata form minus the development section at its center . Again, we hear Schubert’s search for warmth in the Andante con moto, with its beautiful reliance on horns, clarinets, and celli . Keep an ear out for Schubert’s equally breathtaking accompaniments—as one of the world’s greatest song composers, Schubert had a natural flair for striking the perfect balance between inspired melody and an equally evocative counterpart .
For all the ink that has been spilled concerning the sole existence of two movements, it seems eerily fitting that Schubert concluded his B minor Symphony as he did, given his tragically brief thirty-one years of life . We might naturally wish to have had still more music from this undeniable genius but by the time we reach the closing bar of his poignant B minor Symphony, we might just as easily come away feeling that Schubert had said all there was to say .
Johann Strauss Jr. (1825-1899): Emperor
Waltz, Op. 437
Instrumentation: Scored for pairs of flutes, oboes, clarinets, bassoons, trumpets, four horns, three trombones, timpani, percussion harp, and strings
Composed: 1889
Duration: 10 minutes
Admittedly, classical music is a relatively competitive field, but it has rarely appeared as threatening as in mid-19th century Vienna, where the battle between Johann Strauss Senior and Junior played out Johann Strauss Sr , among the most beloved musical figures of his day, did everything he could to dissuade his son from pursuing a path similar to his own (he had designs on the boy eventually becoming a banker), so when he caught him practicing the violin, he literally attempted to beat all musical passion out of him The whipping did not take Years later, when Strauss Jr sought to start a rival orchestra, many were reluctant to become involved, fearing angering the old man Finally, during the 1848 uprising, the public rivalry came to a head: the father sided with the monarchy, the son with the revolutionaries Consequently, when the Habsburgs were once again on solid footing, Strauss Jr . was denied propitious professional advancement . It was only with his father’s death of scarlet fever that the young man’s fortunes truly began to change . He merged both orchestras, began touring, and composed patriotic works to honor the emperor Though plagued by ill health (phobias, hypochondria, and physical exhaustion), Johann Junior’s fame soon eclipsed that of his father, thus earning him the sobriquet, “The Waltz King . ”
Unlike Beethoven’s “Emperor” Concerto, Strauss’ Emperor Waltz, or Kaiser-Waltzer, is linked not simply to the Austrian Emperor Franz Joseph I, but to his Prussian counterpart Emperor Wilhelm II, and was intended as a symbolic “friendship toast” between the two rulers . Curiously, the work begins not as a waltz at all but as a gentle march . The brief introduction concludes with a lyrical cello cadenza, after which a string of waltzes follow one after another, some tender, others full-blooded but all capturing the sparkling chandeliers and dizzying spins of the 19th-century Viennese ballroom .
© Marc Moskovitz marcmoskovitz.org
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 72 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 back to the Southern Theatre stage for his second appearance with ProMusica .
Jeffrey Zeigler
Jeffrey Zeigler is one of the most innovative and versatile cellists of our time Strings Magazine says Zeigler is “widely known for pushing boundaries and breaking conventions”. The New York Times has described Zeigler as “fiery,” and a player who performs “with unforced simplicity and beauty of tone . ” Acclaimed for his independent streak, Zeigler has commissioned dozens of works, and is admired as a potent collaborator and unique improviser . As a member of the internationally renowned Kronos Quartet from 2005-2013, he is the recipient of the Avery Fisher Prize, the Polar Music Prize, the President’s Merit Award from the National Academy of Recorded Arts (Grammy’s), the Chamber Music America National Service Award and The Asia Society's Cultural Achievement Award .
Following his tenure with Kronos, his multifaceted career has led to collaborations with a wide array of artists and innovators such as Laurie Anderson, Philip Glass, Hauschka, Vijay Iyer, Robin Coste Lewis, Yo-Yo Ma, Julie Mehretu, Siddhartha Mukherjee, Carl Hancock Rux, Foday Musa Suso, and Tanya Tagaq . He has also performed as a soloist with the Los Angeles Philharmonic, the Toronto Symphony, the Royal Danish Radio Symphony, the New Century Chamber Orchestra and the Ulster Orchestra under the batons of Peter Oundjian, JoAnn Falletta, Dennis Russell Davies and Dmitry Sitkovetsky .
Recent concertos written for him include Mark Adamo’s Last Year (at Carnegie Hall with the American Composers Orchestra), Andy Akiho’s Cello Concerto (Sun Valley Music Festival Oregon Symphony, Bozeman Symphony, ProMusica Chamber Orchestra and South Carolina
Philharmonic) and Amy Brandon’s Simulacra (Open Waters Festival, Nova Scotia) .
His most recent solo album, Houses of Zodiac, is his first full collaboration with his wife, trailblazing composer Paola Prestini It is a multimedia experience that combines spoken word, movement, music, and imagery into a unified exploration of love, loss, trauma and healing .
Alongside Paola Prestini, Zeigler is the Co-Artistic Director of VisionIntoArt, a non-profit new music and interdisciplinary arts production company based in New York . He is the Director of the National Sawdust Ensemble of National Sawdust, an artist-led, multidisciplinary new music venue in the heart of Williamsburg, Brooklyn, where he sits on the Advisory Board .
Additionally, he is a member of the Board of Directors of Chamber Music America and CelloBello and is on the Honorary Committee of the Sphinx Organization Zeigler teaches cello and chamber music at Mannes School of Music .
Photo: Axeld Dupeux
Andy Akiho
Andy Akiho is a “trailblazing” (Los Angeles Times) Pulitzer Prize finalist and five-time 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 2022, 2023, and 2024 .
Recent highlights include the world-premiere 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’s 2023-2024 composer-inresidence . His latest work, a concerto written for noted cellist Jeffrey Zeigler, was premiered this past Fall at Sun Valley Music Festival, with following performances by the Oregon Symphony, ProMusica, and Bozeman Symphony .
Other 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, Oculus, and Sculptures feature brilliantly crafted compositions inspired by his primary instrument, the steel pan .
As a steel pannist, Akiho has a deeply physical relationship with playing, which extends itself to his compositional output . His voice is further shaped by what has undoubtedly been a nontraditional trajectory as a composer: having spent most of his 20s playing steel pan by ear in Trinidad and New York City, Akiho only began writing music at age 28 . Still, these social and musical roots remain foundational Akiho frequently composes into the wee hours at coffee shops, nightclubs, 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 Kathryn D. Sullivan Chair
Jennifer Ross, principal second*
The Brachman Smith Family Chair
**Amy Cave
The Randy & Marilyn Miller Chair
Eric Kline
The Jim & Ida Copenhaver Ginter Chair
Heather Kufchak
The Deborah Raita Chair
Solomon Liang
The Laurie & Thomas W. Hill Chair
William Manley
The Fran Luckoff Chair
Victoria Moreira
The Dyann & E. Joel Wesp Chair
Koko Watanabe
The Sallie J. Sherman Chair
VIOLAS
Elias Goldstein, principal
The Amy Thompson & Stephen Fechtor Chair
**Stephen Goist*
The Keith F. and Katherine B. Dufrane
Trust Chair
Mary Harris
The Margaret & Jerome
Cunningham Chair
Michael Isaac Strauss
The Anne Powell Riley Chair
VIOLONCELLOS
Marc Moskovitz, principal
The Barbara Trueman Chair
**Joel Becktell
The Donna K. Laidlaw Chair
Nat Chaitkin
The William K. Laidlaw Trust Chair
Cora Kuyvenhoven
The Bob & Mary Frances
Restrepo Chair
BASSES
John Pellegrino, principal
The John F. Brownley Chair
Boris Astafiev+
FLUTES
Nadine Hur, principal
The Dana Navin Schultz Chair
Vacant
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 Burkey Family Chair
TRUMPETS
Andrew Jeng+ co-principal
Justin Kohan+ co-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
Michael Charbel trombone
Scott Cuellar piano
James Kang viola
ORCHESTRA MANAGER
Suzanne Jennison
**Begins the alphabetical listing of string players who participate in a system of rotated seating.
*On leave for the 2024-25 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.
Akiho & Beethoven
Jeffrey Zeigler, cello
Andy Akiho, steel pan & composer
David Danzmayr, conductor
Southern Theatre // Saturday, December 14 // 7:00 PM
Southern Theatre // Sunday, December 15 // 7:00 PM
AKIHO Concerto for Steel Pans & Orchestra
Andy Akiho, steel pan
AKIHO Nisei for Solo Cello and Orchestra
[Commission and Midwest Premiere]*
Jeffrey Zeigler, cello
Intermission
Intermission lasts 15 minutes
BEETHOVEN Symphony No. 4 in B-flat Major
I . Adagio – Allegro vivace
II . Adagio
III . Allegro molto e vivace & Trio (Un poco meno allegro)
IV . Allegro ma non troppo
*Commissioned by the Sun Valley Music Festival, the Oregon Symphony, ProMusica Chamber Orchestra, the Bozeman Symphony, and the South Carolina Philharmonic.
Stay for Coda: Post-Concert Conversation . Meet Jeffrey Zeigler, Andy Akiho, and David Danzmayr and learn more about tonight’s program .
December About the Music
Andy Akiho (b. 1979)
Following his highly successful ProMusica 2023 debut, trailblazing composer and steel pannist Andy Akiho returns to the Southern Theatre for a pair of concertos, the first for steel pan and the second, a new Concerto for Cello and Orchestra, among his most recent works . Though only in his mid-40s, Akiho has already amassed an impressive vitae, including his nomination as a Pulitzer finalist, Grammy nominations, and a handful of significant prizes, among them the Rome Prize and an award from the American Academy of Arts and Letters . Recent engagements include those from the New York Philharmonic, the Oregon Symphony and the National Symphony Orchestra .
Concerto for Steel Pans & Orchestra
Instrumentation: Scored for flute, piccolo, pairs of oboes and clarinets, bass clarinet, bassoon, contrabassoon, pairs of horns and trumpets, trombone, tuba, timpani, percussion, piano, harp and strings
Composed: 2011
Duration: 12 minutes
Akiho’s single-movement Concerto for Steel Pans and Orchestra, from 2011, launches out of the gate like an explosive thoroughbred . We are immediately presented with the building blocks of this exciting score, including a blistering unison riff shared by the steel pan and snare drum, and a battery of ostinato (repeating) patterns heard throughout the large orchestra, underscoring the opening percussive drive . The marked violin theme that follows will prove among the longest-hewn ideas of the concerto, much of which capitalizes on short bursts of energy .
A pair of contrasting ostinati quickly follows, a give and take between the slow-moving low brass and rapid-fire steel pan . This, in turn, gives way to a relaxed four-note cell played by the soloist alone, and it is this idea, along with its various transformations, that serves as the basis for much of the composition . It is worth noting that, while the concept of the ostinato, whether energetic or slow and supportive, betrays the influence of minimalist composers like John Adams and Phillip Glass, Akiho’s use of orchestral color, not to mention the stunning palette offered by the steel pans, is highly unique .
The second half of the score is marked by an extended solo cadenza, the end of which relies on the four-note cell, now at increasingly higher pitch levels With the orchestra’s return, Akiho looks to the ensemble as an extension of the pans, whether rhythmically or melodically, to brilliant effect . Having regained the energy from the start, the concerto then drives to a quick, relentless conclusion .
Notes by Michael Cirigliano for the Oregon Symphony: Nisei for Cello and String Orchestra
Instrumentation: Scored for pairs of flutes, oboes (oboe and English horn), clarinets, bassoons, horns, trumpets, trombones, tuba, and strings
Composed: 2024
Duration: 25 minutes
Throughout his career, Akiho has written concertos featuring steel pans, ceramic sculptures, and even a pair of ping-pong players . So did it feel conservative to write a concerto for a standard orchestral instrument like the cello? Not at all, the composer says .
"For me, nothing I write is standard . Writing for the cello was new territory to me, but every piece I write feels like that I just approach it like a kid, trying to learn as much as I can about the instrument . "
The inspiration behind Akiho's latest work is Jeffrey Zeigler, his close friend and collaborator for 11 years . A cellist known for breaking down boundaries between classical
and pop music, Zeigler has performed countless world premieres, toured the world as a member of the cuttingedge Kronos Quartet, and played in rock bands and contemporary music ensembles But Akiho wasn't looking to incorporate any of those avant-garde aspects of Zeigler's world into his concerto
"Jeffrey is so innovative in his music-making, using pedals and incorporating electronics, but I wanted us to create a super old-school, OG sound and really focus on the transparency of the music and his incredible playing . I wanted to go somewhere people wouldn't expect either of us to go . "
The range of characters we'll encounter in Akiho's new concerto mirrors the versatility Zeigler brings to his work — from executing driving, "super minimalist" rhythms in the first movement to delivering moments of sublime operatic expression in the central movement, which Akiho likens to "the ballad on a rock album . "
While Akiho and Zeigler's collaborative friendship provided fuel for the composer's concerto, so did notions of memory, nostalgia, and their shared heritage as second-generation Japanese Americans, which the pair didn't discover until years into their friendship .
"The piece represents the strength we've built as two musicians growing and learning from each other and creating music together . I didn't want to take these connections to Japanese culture literally or mimic a particular sound, but they did become a source of subconscious inspiration .
The shared heritage between Akiho and Zeigler did provide literal inspiration in one regard: the concerto's title, Nisei, is the Japanese term for "second generation "
© Michael Cirigliano
II
Michael Cirigliano II is a freelance writer who has worked with the Cleveland Orchestra, Oregon Symphony, LA Phil, National Arts Centre Orchestra, Minnesota Orchestra, and Lincoln Center for the Performing Arts.
Ludwig van Beethoven (1770-1827):
Symphony No. 4 in B-flat Major
Instrumentation: Scored for flute, pairs of oboes, clarinets, bassoons, trumpets and horns, timpani, and strings
Composed: 1806
Duration: 34 minutes
In the summer of 1806, having recently completed his opera Leonore and the three magisterial “Razumovsky” string quartets, Beethoven traveled to the summer castle of Prince Lichnowsky, one of Beethoven’s most steadfast patrons . The estate was located northwest of Austria, in Silesia, near the contemporary borders of the Czech Republic and Poland . Here Beethoven set to work on what would become his Fourth Symphony . The weeks spent in Lichnowsky’s company were fruitful ones, albeit Beethoven’s visit coming to an abrupt and unexpected end . One evening, the prince invited guests, possibly including French officers, to his residence, and requested Beethoven perform for them . Despite Lichnowsky’s repeated pleas, Beethoven refused When the prince jokingly threatened Beethoven with house arrest, his guest, who believed he was about to be treated like a performing monkey, stormed out into the pouring rain and spent the night at the home of Lichnowsky’s physician
Before returning to Vienna the following day, Beethoven dispatched the following note:
Prince!
What you are, you are through the accident of birth
What I am, I am through my own efforts . There have been thousands of princes and there will be hundreds more But there is only one Beethoven!
The episode concluded with Beethoven’s arrival at his apartment in Vienna, where he seized a bust of Prince Lichnowsky and smashed it into a hundred pieces .
The monumental “Eroica” Symphony was now three years behind him, a symphonic offering that Beethoven had no intention of replicating, much less trying to outdo . Indeed, by now a symphonic pattern had begun to emerge—those
created on a large scale, whether size or scope, were followed by scores that dialed back the size of the forces involved, were significantly shorter, or simply didn’t deliver the intense emotional punch of that which preceded it The “Pastoral,” folk-inspired Sixth Symphony, for instance, followed the tumultuous C minor Fifth, and a half year after the dramatic Seventh, with its brooding funeral march and expanded contours, came the charming and witty, Haydnesque Eighth Symphony Now, in the summer and fall of 1806, at the close of what would prove the most productive period of Beethoven’s lifetime, the famed composer gave himself over to a tight, compact symphony of classical design, a work devoid of any personal or extramusical subject matter Yet despite what would appear a “limited” framework within a well-worn genre, the Fourth is the product of a genius at the height of his compositional powers, who had come to regard each new symphony as a unique musical event, an opportunity to reveal new musical truths and a level of expression unequaled before or since
The Fourth opens mysteriously, with violins playing a descending pattern over sustained winds, pensively hovering in the world of B-flat minor, which it seems reluctant to abandon Beethoven builds tension with small gestures yet with no actual theme . The music soon drifts to the yet more distant keys before a dramatic explosion of sound sets up the home key of B-flat major for the Allegro vivace . The music is propelled forward by the violins, which are momentarily checked by a descending wind scale before the entire orchestra launches into action . Beethoven creates tremendous “spin,” to quote Sir Donald Tovey, with nothing but arpeggios (bassoon, for example), sustained wind chords, driving eighth notes in the lower strings, dramatic timpani rolls and the simplest of fragments in the violins!
Beethoven’s recapitulations are typically major events— listen to how the tension mounts as the action slows, until only the timpani is left to fill the silence . This moment, though subtle, is among the most harmonically thrilling symphonic passages Beethoven ever conceived: against the pianissimo B-flat timpani roll Beethoven juxtaposes a jarring F-sharp major chord, a grating harmony that is resolved as the bass moves down a half-step, from G-flat
to F Thus is the dominant of B-flat, the home key, achieved, a subtle yet breathtaking coup! The movement’s coda is one of raw power, as Beethoven drives to the double bar with syncopated violins, offbeat accents, the return of the scale material, and a final, hair-raising push from pianissimo to the tremendous fortissimo at its close .
We are in the heart of Beethoven’s so-called “second” or “heroic” period, an era that witnessed some of the most achingly beautiful melodies he ever produced and whose language presaged the Romantic age . The Adagio of the Fourth Symphony is a sublime example; set to a simple, rocking second violin accompaniment that will thread its way throughout the movement, the cantabile theme unfolds in the first violins, soon to be taken up in the winds’ upper registers . The recognizable rondo theme at the start will return several times, anchoring the movement Interspersed are contrasting episodes, such as the brassdominated response, the poignant clarinet solo, and the ensuing transitions, ranging from stormy to atmospheric, that lead us back to embellished versions of the rondo theme
With sheer speed and syncopated phrasing of the Allegro vivace, Beethoven placed great distance between himself and his classical predecessors; the proper Minuets of Mozart’s time have been left in the dust Even the contours of the movement have been radically expanded, as Beethoven twice repeats both the scherzo proper and the wind-dominated trio . The latter marked Un poco meno Allegro (“a little less fast”), exhibits a peasant-like quality with its drone bass scoring and repetitive gestures, which some in our audience might liken to Sixth Symphony’s folksy flair .
The image that has come down to us of Beethoven as a towering, yet maligned and misunderstood genius, is in many ways spot on, as aptly demonstrated in the aforementioned anecdote . Chronically poor health, deafness, an inability to find love, and his unwillingness to temper his progressive musical ideals all resulted in his turning ever more inward Only when caught up in the act of creation or surrounded by nature did Beethoven find pure solace . Yet when his spirits allowed, Beethoven could
also exude childish charm, someone capable of puns and practical jokes . This is the side of Beethoven we experience in the concluding Allegro ma non troppo . Almost from start to finish, this exuberant perpetuum mobile, established by the opening flurry of sixteenth notes, delivers joy and delight .
Yet, beneath the playful surface lies the essence of Beethoven’s art, drawn from the full human experience: the stormy offbeat chords that enter suddenly and disappear just as quickly; the unbridled joy of the second theme, introduced by the winds with its rollicking, triplet
accompaniment; the miraculous development, constructed of minimal material but which in less than thirty seconds moves from despair to nightmarish intensity; and the thrilling coda, with its playful starts and stops and its manic rush to the close . In a mere 355 bars of music, Beethoven takes us on an emotional journey and despite being intensely private, has opened his heart fully . If we listen carefully, we’ll hear all we need to know .
© Marc Moskovitz marcmoskovitz.org
About the Program Notes Author
Marc Moskovitz
In addition to his work as principal cellist of 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 . Two of his books, including Measure: In Pursuit of Musical Time (Boydell & Brewer), earned the CHOICE Outstanding Academic Title Award . His novel, The Eyes of Bach, has just been published (Friesen Press) .
JOIN US IN A ROUND OF APPLAUSE FOR THE $1,018,366
Total Donation Since Founding in 1988
We are deeply grateful to the volunteer members of the ProMusica Sustaining Board, for their tireless work raising community awareness and funds for the Orchestra.
Join us in celebrating this milestone achievement of passing the million dollar mark in donations, their growing membership, and variety of social event offerings throughout each season.
To learn more about the ProMusica Sustaining Board and to become a member, visit promusicacolumbus.org/sustainingboard. THANK YOU!
Meet the Musicians
Katherine McLin concertmaster, 25 years
The Michael Jones & Jody Croley Jones Chair Current Residence: Phoenix, AZ
Amy Cave violin, 10 years
The Randy & Marilyn Miller Chair Current Residence: Cleveland, OH
Solomon Liang violin, 6 years
The Laurie & Thomas W Hill Chair Current Residence: Columbus, OH
Rebecca Willie assistant concertmaster, 10 years
The Kathryn D Sullivan Chair Current Residence: Greensboro, NC
Eric Kline violin, 13 years
The Jim & Ida Copenhaver Ginter Chair Current Residence: Pickerington, OH
William Manley violin, 19 years
The Fran Luckoff Chair Current Residence: Columbus, OH
ProMusica is a collective of world-class musicians performing at the highest level who have chosen to make their musical home in Columbus. Learn more about our musicians online at www.promusicacolumbus.org.
Jennifer Ross* principal second, 7 years
The Brachman Smith Family Chair Current Residence: Jackson, WY
Heather Kufchak violin, 14 years
The Deborah Raita Chair Current Residence: Freeport, ME
Victoria Moreira violin, 10 years
The Dyann & E Joel Wesp Chair Current Residence: Chicago, IL
Koko Watanabe violin, 7 years
The Sallie J Sherman Chair Current Residence: Columbus, OH
Mary Harris viola, 29 years
The Margaret & Jerome Cunningham Chair
Current Residence: Oxford, OH
Cora Kuyvenhoven cello, 24 years
The Bob & Mary Frances Restrepo Chair
Current Residence: Columbus, OH
Nadine Hur principal flute, 4 years
The Dana Navin Schultz Chair
Current Residence: St Louis, MO
Jennifer Magistrelli clarinet, 13 years
The Jack & Betsy Farrar Chair
Current Residence: Richfield, OH
Stephen Goist* viola, 10 years
The Keith F & Katherine B Dufrane Trust Chair
Current Residence: New York, NY
Nat Chaitkin cello, 17 years
The William K Laidlaw Trust Chair
Current Residence: Cincinnati, OH
Donna Conaty principal oboe, 35 years
The Lee Shackelford Chair
Current Residence: Santa Cruz, CA
Ellen Connors principal bassoon, 14 years
The ML Chair
Current Residence: St Louis, MO
Michael Isaac Strauss viola, 9 years
The Anne Powell Riley Chair Current Residence: Oberlin, OH
Joel Becktell cello, 16 years
The Donna K Laidlaw Chair
Current Residence: Albuquerque, NM
Jessica Smithorn oboe, 6 years
The Artie & Alisa Isaac Chair
Current Residence: Chattanooga, TN
Rachael Young bassoon, 9 years
The Carolyn Merry & Bob Redfield Chair
Current Residence: Cincinnati, OH
Marc Moskovitz principal cello, 30 years
The Barbara Trueman Chair Current Residence: Durham, NC
John Pellegrino principal double bass, 13 years
The John F Brownley Chair Current Residence: Columbus, OH
Ilya Shterenberg principal clarinet, 7 years
The Beth Grimes-Flood & Tom Flood Chair
Current Residence: San Antonio, TX
Stephanie Blaha principal horn, 7 years
The Todd S Swatsler Chair Current Residence: Wadsworth, OH
Matthew Oliphant + horn, 2 years
The Burkey Family Chair Current Residence: Chicago, IL
Rajesh Prasad percussion, 11 years
The Bob Redfield & Mary Yerina Chair Current Residence: Raleigh, NC
+ one-year appointment * on leave for the 2024-25 season
Timothy Leasure trumpet, 21 years
The William & Wendy Faust Chair Current Residence: Pickerington, OH
Jeanne Norton principal harp, 45 years
The Sustaining Board Chair Current Residence: Columbus, OH
Renee Keller principal timpani and percussion, 11 years
The Susan C . Johnson Chair Current Residence: Gahanna, OH
Aya Hamada principal harpsichord/keyboard, 20 years
The ProMusica Board Chair in memory of Ida Copenhaver Current Residence: New York, NY
2023-2024
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Connie Bodiker
Katherine Borst Jones
Earl Busenburg
Alan and Linda Carter
Donna Cavell
Todd Clark
Dennis and Joyce Findley
Robin and Larry Garvin
Barbara Glover
David and Patricia Gold
David Guion
Vincent and Gayle Herried
Rose Hume and Jim Dunn
Jeff Kipnis
Douglas Klamfoth
Charlie and Linda Kurtz
Ekaterina Malkin
Mark L. Miller
Dan and Kathy Moore
Elizabeth and Kulu Moyo
Brad Myers and Steve Rowlands
Robert Palmer and Susan Simms
Lenore Schottenstein
The Smajlovic Family
Connie Smallwood
Ronald L. Smith and Family
Tom and Susan Szykowny
Hamilton and Margaret Teaford
Ella Uretsky
Jonathan Wentz
Ronald and Ramona Whisler
Leslie Yenkin and Jonathan Petuchowski
Michael Young and Sandra Wolf
Anonymous
PRELUDE
$100 - $249
Gifts from Individuals
Mary Ann and Michael Abrams
Jane and Stan Ackley
Susan Altan
Randy Applegate
Diane and Ted Armbruster
Frank and Maureen Bittel
Will and Elizabeth Blind
Ann Brace
Henry Brecher
Susan Brown
Greg Bryan
Michael Burton
Carol Chaitkin
Peter Coccia
Dale Cook
Dan and Christie Crane
Joanne and Russell Crouse
Betsy and Nick DeFusco
John DeSando
Dixie Sayre Miller Fund of
The Columbus Foundation
Patrick Doss
Jeanne Earhart
Laura and Pat Ecklar
Erik Edwards
Toba Feldman
Judy and Ted Fisher
Karen and Ben Freudenreich
Kelly Fuller and Bob Thomas
Betty Garrett
Carole and Nelson Genshaft
Richard and Linda Gunther
Lydia Hadley
Mike and Harriet Hadra
Lynne and David Herman
David Humeston and Amy Popp
Kari Jensen
Renee Keller
Joel and Gerry Kent
Gale and Steve Klayman
Eric Kline
Sharon Kokot
Katie Kuvin
Anne LaPidus
Dr. and Mrs. Douglas Levin
Timothy and Barbara Lloyd
Philip Lortz
Kathy and Thom Ludlam
Mary Frances Macioce
Judy Michaelson
Laura Miller
Steve and Alicia Miller
The Nekvasil Charitable Fund
Julia Noulin-Mérat and Patrick McGovern
Carolyn Patterson
Amy and Brian Peach
Joseph and Minna N. Pirogovsky
Sandra and Howard Pritz
Sue and Mark Real
David and Ann Rigney
Bryant and Sandra Riley
William L. Slutz and Linda A. Roomann
Jennifer Ross
Sharon Sachs and Donn Vickers
Jonathan Sauer
Lyle Saylor
Gary and Ellen Schwarzmueller
Patti Shorr
Molly and Brian Snell
Marilyn R. Smith
RJ Sontag and Benjamin Hirt
Rochelle and Jules Steinberg
Susan Thompson
Jill Whitworth
Margie and Thomas Williams
Barb Wooldridge
Sarah Ziegler
SPECIAL GIFTS
In Memory of Bernice White
Chuck White
This list includes contributions made to ProMusica for the period of July 1, 2023 to June 30, 2024. 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 2023-2024 giving year (July 1, 2023 – June 30, 2024).
In Honor of Stephanie Blaha
Catherine and Geoff Chatas
In Honor of Janet Chen
Marjorie Bagley
In Memory of Jerry Cunningham
Beverley Ervine and Boyce Lancaster
In Honor of Melissa DePew
Bruce A Jensen
In Honor of Lindsey Dunleavy
Mary Yerina and Bob Redfield
In Memory of Norma Enerson
Tom Battenberg and Helen Liebman
Mary Lazarus
Peggy Lazarus
In Memory of Ellen Flamm
Michael Flamm
In Honor of Joan Herbers
Parkview Partners Capital Management
In Honor of Steve Keyes
Michael Flamm
In Memory of Barbara Reed Lambert
David Lambert
In Honor of Peggy Lazarus
Nancy Marzella
In Honor of Nancy Marzella
Cathy and Bobby Kellerman
Lane and John Rothschild
In Honor of Maxine McLeod
Lisa and Michael Maggard
In Honor of Katie McLin
Marjorie Bagley
In Memory of Jane McMaster
Brian and Lee Chorpenning
Harriet Donaldson
Mabel Freeman
Jim Ginter
Laurie and Tom Hill
McMaster Family Fund
Larry and Peg Neal
Mary Yerina and Bob Redfield
In Honor of Marc Moskovitz
Marjorie Bagley
In Memory of Bernice Pochatek
Nancy Lee Flynt
In Memory of Darren Quintenz
Beth Grimes-Flood and Tom Flood
Laurie and Tom Hill
Mary Lazarus
Peggy Lazarus
In Memory of Joseph Rodriguez
Bruce A Jensen
In Honor of Caitlin Sherman
Chris Yates and Howie Embry
In Honor of Stephanie and Grant Stephenson
Ann and Rick Theders
In Honor of Seyman and Sadie Stern
Cathy and Bobby Kellerman
Lane and John Rothschild
In Memory of James D. Studer
Craig Studer and Alyssa Cummings
In Memory of Elizabeth Williams
Tom Battenberg and Helen Liebman
Julia and Milt Baughman
Sarah Eagleson
Beth Grimes-Flood and Tom Flood
Barbara and Gary Giller
Sue and James Gross
Marilyn Harris
Steven Hillyer
Ann S and Thomas E Hoaglin
Betsy and Henry Hope
Linda and Bill Kimball
Cynthia L Krause
Mary Lazarus
Peggy Lazarus
Nancy Marzella
Thom O’Reilly
ProMusica Chamber Orchestra
Sustaining Board
Susan and Ken Quintenz
Lane and John Rothschild
Rachel Sandman
Sallie J . Sherman
Mary Yerina and Bob Redfield
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 2023-2024 school year
INDIVIDUALS
Robert Byrd
Georgeann Corey
Bethany Dwinnell
Michael Fiske and Maureen Mugavin
Steven Hillyer
Susanne Jaffe
Michael Jones and Jody Croley Jones
Ken Odwarka
Nathan Riley
SPECIAL GIFTS:
In Honor of Harold Riss
Tom and Melissa Riss
SUPPORT FROM CORPORATIONS & FOUNDATIONS:
American Electric Power
Bank of America
Ingram-White Castle Foundation
The Hattie and Robert Lazarus Fund of The Columbus Foundation
Ohio Arts Council
ProMusica Sustaining Board
2024 Soirée Sponsors and Patrons
We thank the following corporations and individuals for their generous support of our 2024 Soirée Benefit and Concert.
PRESENTING SPONOR
The COR Group of UBS Financial Services
GOLD SPONSORS
BakerHostetler
Jim Ginter
Joan Herbers
Ice Miller LLP
Christine and Meri Kullberg
Ologie
Porter, Wright, Morris & Arthur LLP
Lee Shackelford
Vorys, Sater, Seymour and Pease LLP
The Westin Great Southern Columbus
Mary Yerina and Bob Redfield
SILVER SPONSORS
Bank of America
Janet Chen and Rick Buchanan
Crane Group
Huntington Bank
PNC Bank
BRONZE SPONSORS
Monica and Doug Kridler
George Barrett
Mimi Dane
Bill and Wendy Faust
Mike Jones and Jody Croley Jones
Mary and Tom Katzenmeyer
Kegler, Brown, Hill & Ritter
Steve Keyes and Lauren Bonfield
Caitlin Sherman and Vineeth Sukrithan
PLATINUM PATRONS
Lavea Brachman and Andrew O Smith
Michael Burton
Mark and Mindy Corna
Dr . Ellen and Dr . Stephen Douglas
Dublin Toy Emporium
Lynn Elliott and John Brownley
Betsy and Jack Farrar
Stephen Fechtor and
Amy Thompson
June and Jerry Frankel
George F. Knight and Ellen Berndt
Enas Lanham and Thomas Steele
Mary Lazarus
Peggy Lazarus
Elliott Luckoff
Nancy Marzella
Susan and Bill McDonough
Angela and John Petro
Susan and Ken Quintenz
David Schooler
Miriam and Bernie Yenkin
PATRONS
Tom Battenberg and Helen Liebman
Sally and Roger Baughman
Yvonne and Dick Burry
Marilyn and Marty Campbell
Donna Cavell
Darci Congrove
Laura and Pat Ecklar
Jim Elliott and John Behal
Nancy and Steve Falk
Bill and Wendy Faust
Kirk Fisher and Laura MacDonald
Robert Fry and Jan Quatman
Nelson and Carole Genshaft
Barbara Goettler
Michael and Joy Gonsiorowski
Ruth Guzner
Herb and Melissa Hedden
Chris Hune
Irvin Public Relations
Yiema John
Katherine Borst Jones
Donna Laidlaw
Sally McDonald
Amy Milbourne
Mary and Charlie Oellerman
Patti Orzano
Robert Palmer and Susan Simms
Deborah Raita
Julie and Bob Rutter
Marquell, Ned, and Betsy Segelken
Mark and Stacie Sholl
Cynthia Whitacre
Robert Wing
Anonymous
DONATIONS
Mabel Freeman
Rose Hume
Tessa Parsons Jabe
IN-KIND DONATIONS
Rose Bredl Flowers & Gifts
RAFFLE PRIZE DONATIONS
American Electric Power
Bill Faust
Jake Gibson
Huntington
Elizabeth and Kulu Moyo
Park Lane Hotel
Porter, Wright, Morris & Arthur LLP
Portland Japanese Garden
ProMusica Chamber Orchestra
Board of Trustees
Bob Redfield
The Refectory Restaurant
Julie Rutter
Lee Shackelford
Todd Swatsler
Tiffany & Co , NYC
Together & Company
Vorys, Sater, Seymour and Pease LLP
Mary Yerina
MEDIA SPONSOR
WOSU Classical 101
Porter Wright is proud to support ProMusica Chamber Orchestra and its dedication to providing innovative, engaging and inspiring musical experiences.
