2024 25 SEASON
Excellence
The CORE Group proudly supports ProMusica Chamber Orchestra
Brent G. Coakley, CFP®
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
Jake Gibson, Bank of America
Michael Gladman, Jones Day
Kelsey Gregory, PNC Bank
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
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
+ Executive Committee Member
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
Paul George
Betty Giammar
Barbara Goettler
Beth Grimes-Flood
Laurie Hill
Steven Hillyer
Jody Croley Jones
Michael
Thomas O’Reilly
Dorothy Pritchard
Susan Quintenz
Deb Raita
Subha Raman*
Bob Redfield
Stephanie Riedmiller
Robert Rutter
Laurie Schmidt-Moats
Lee Shackelford
Caitlin Sherman*
Sallie Sherman Patti Shorr* Kitty Soldano*
Beth Stafa
Stephanie Stephenson
Jody Wasbro*
Robert Wing
Miriam Yenkin
Mary Yerina
PRINCIPAL MEMBERS
Claudia Abrams
Susan Altan*
Peg Bainbridge
Barbara Bechtel*
Susan Berry* Kim Bingle
Nancy Brownell Mark Butler
Nancy Edwards
Barbara Elliott
Lynn Elliott
Marion Fisher
Ellen George
MUSICIAN MEMBERS
Linda Kurtz
Barbara Ludwig*
Cindy Mackin Jane Mazza* Brenda Perrin* Jan Quatman
Anne Powell Riley Patricia Webb* Lillian Zarzar* Sherry Zox* * 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
Yulia Van Doren, soprano
Yulia Van Doren has thoughtfully cultivated a unique career as one of the foremost concert singers of her generation . Particularly recognized for her work in baroque repertoire, Ms . Van Doren has been presented as a guest artist by a majority of the premiere North American orchestras and festivals and is featured on two Grammynominated opera recordings with the Boston Early Music Festival .
Macau with Akademie für Alte Musik Berlin, and at the Royal Concertgebouw Amsterdam; eclectic 20th-century repertoire as the featured soprano of the 2013 Ojai Music Festival; several world premieres at Carnegie Hall; and nationally-televised performances at the Cartagena International Music Festival with soprano Dawn Upshaw, a cherished career mentor She has been a soloist for choreographer Mark Morris since 2007, singing many national and international performances with his dance company
Ms Van Doren’s graduate degree was generously supported by a PD Soros Fellowship, postgraduate study in Paris by a Beebe Fellowship, and she is an Astral Artist laureate . Yulia is also the founder of a holistic wellness brand that is an innovator in its genre, and author of three books that are award-winning international bestsellers, with over a quarter-million copies sold in eight translations . She is currently developing a project related the intersection of music, science, and holistic healing
She has sung leading roles in a variety of diverse repertoire, including the world premiere of Shostakovich’s Orango with the Los Angeles Philharmonic, directed by Peter Sellars and released on Deutsche Grammophon; the modern revival of Monsigny’s Le roi et le fermier at Opera de Versailles, the Kennedy Center and Lincoln Center; Alessandro Scarlatti’s rarely-performed opera Tigrane at Opera de Nice; Monteverdi concerts in Venice with Sir John Eliot Gardiner; Handel’s Acis and Galatea in
Photo: Daniel Iannini
Martha Guth, soprano
Juno nominated soprano
Martha Guth’s recital and concert highlights include Wigmore Hall, Lincoln Center, The National Cathedral, St . John Smith Square, The Toronto Symphony Orchestra, Ravinia, The Lincoln Trio, The Chicago Philharmonic, Voices of Ascension, and many more .
Her longtime recital and touring partners include Graham Johnson and Erika Switzer Her recitals and concerts have been recorded and broadcast for the CBC Radio/Radio Canada, the BBC Radio in the U .K and the WDR in Germany and she is proud to have worked under the batons of Maestro’s Seiji Ozawa, Robert Spano, Helmut Rilling, John Nelson, Richard Bradshaw, and Alan Gilbert among many others
Her discography includes Summer Night, a Juno nominated disc of songs by Healy Willan on Centrediscs for The Canadian Art Song Project with Allyson McHardy, Helen Becqué and Peter Barrett; Das Ewig Weibliche, a solo disc of Schubert songs with Penelope Crawford on fortepiano; Roberto Sierra’s Beyond the Silence of Sorrow, with the Orquesta Sinfonica de Puerto Rico for Naxos (nominated for a 2016 Latin GRAMMY); John FitzRoger’s Magna Mysteria for the Innova label; Go by Contraries, songs of Andrew Staniland with Baritone Tyler Duncan and Pianist Erika Switzer released on Centre Discs, The Brahms Liebeslieder Waltzes for Sparks & Co , and The Five Boroughs Song Book for GVR records . Forthcoming is a disc for Naxos of Mendelssohn’s Lobgesang with the Yakima Symphony .
With Erika Switzer, she is Co-Founder/Director of Sparks & Wiry Cries, a non-profit dedicated to art song spanning publication, live performance, and commission of new works Sparks is the force behind the popular regional songSLAM’s that are presented in partnership with other song organizations and Universities all over the world from Slovenia to the U .K , Canada, and every region of the U S , and presents its own sparksLIVE productions every January in NYC In 2023 as Co-Director of Sparks & Wiry Cries, Martha led a partnership with the Metropolitan Museum of Art and the Philadelphia Chamber Music Society in Philadelphia to produce the world premiere of Freedom on the Move: Songs in Flight composed by Shawn Okpebholo with performers Rhiannon Giddens, Karen Slack, Will Liverman, Reggie Mobley and Howard Watkins . Her 2023-2024 season included a recital and masterclass tour with Graham Johnson, Handel’s Messiah in Binghamton, Mahler’s 2nd Symphony with the Charleston Symphony, Schubert songs with the Finger Lakes Chamber Music Society, a residency in partnership with Oxford Song at Bard and Ithaca College, a recital and Masterclass at the University of Michigan with Erika Switzer, and many new projects with beloved collaborators –many of whom are listed above, some who are new
Daniel McGrew, tenor
Praised for his “lovely, nuanced tenor” (Boston Musical Intelligencer), First Prize winner in the 2021 Young Concert Artists Susan Wadsworth International Auditions, Daniel McGrew is an active performer of a broad range of repertoires spanning opera, musical theatre, early, and new musics .
Daniel has recently performed the tenor solo in Handel’s Messiah in performances with ProMusica Chamber Orchestra (Columbus, OH) and Music Worcester (Worcester, MA) and in Mozart’s Requiem with the American Chamber Orchestra . An early music specialist, Daniel has performed Bach with conductors including Matthew Halls, John Harbison, David Hill, and Masaaki Suzuki, and Anthony Newman Beyond the classical repertory, he has participated in concerts including the symphonic premier of James Lapine’s Sondheim on Sondheim with the Boston Pops Orchestra and David Loud’s Sondheim revue, A Good Thing Going.
Deeply committed to the Art of Song, he has appeared in concert with Brooklyn Art Song Society, New York Festival of Song, Philadelphia Chamber Music Society, and the University Musical Society, where he joined Martin Katz and three other singers for two recitals comprising the complete Mörike Songs of Hugo Wolf .
Recent highlights include both his NYC recital debut at Merkin Hall and his Washington, DC recital debut at the Kennedy Center’s Terrace Theatre He has appeared at Tanglewood Institute in George Benjamin’s Lessons in Love and Violence and in the role of François in Bernstein’s A Quiet Place and participated in their annual Festival of Contemporary Music with a performance of Kurtág’s “Three Ancient Inscriptions” that The Boston Globe, called “viciously beautiful . ”
Daniel holds degrees from Oberlin Conservatory and Yale University; he recently completed his doctoral studies at the University of Michigan .
Photo: Shervin Lainez
Capital University Chapel Choir
The Capital University Chapel Choir, established in 1929, is renowned for its Lutheran choral tradition and national and international acclaim as a premier collegiate choral ensemble . Under the direction of Dr Lynda Hasseler, the Chapel Choir is known for their performance of a broad and inclusive range of choral literature, flexible and expressive choral tone, and commitment to storytelling with song Invited to prestigious conferences and competitions worldwide, the choir has garnered recognition and accolades, including a world premiere at the American Choral Directors Association National Conference, winning gold medals at the World Choir Games, the 2018 American Prize for the Performance of American Music and frequent collaborations with renowned composers and conductors The choir's extensive touring history has fostered cultural connections across continents, promoting the transformative power of music, most recently in the Netherlands, Belgium, and Spain
Lynda R. Hasseler, director
Lynda R . Hasseler, D .M A ., became the director of the Capital University Chapel Choir in 1990, making history as the first woman to lead a Lutheran collegiate choral program She is also a Professor of Music and Director of Choral Activities at Capital University's Conservatory of Music, where she directs multiple choral ensembles and teaches conducting In demand as a clinician and guest conductor, she performs regionally, nationally, and internationally with singers of all ages As a singer, she has performed, toured, and recorded nationally and internationally with professional choral ensembles including the Robert Shaw Festival Chorus and the Oregon Bach Festival Chorus Her notable achievements include directing premieres of commissioned works and receiving prestigious awards including the 2018 American Prize for the Performance of American Music
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
Anthony Trionfo
The Miriam & Bernard Yenkin Chair
OBOES
Donna Conaty, principal
The Lee Shackelford Chair
Jessica Smithorn
The Artie & Alisa Isaac Chair
CLARINETS
Ilya Shterenberg, principal
The Beth Grimes-Flood & Tom Flood Chair
Jennifer Magistrelli
The Jack & Betsy Farrar Chair
BASSOONS
Ellen Connors, principal
The ML Chair
Rachael Young
The Carolyn Merry & Bob Redfield Chair
HORNS
Stephanie Blaha, principal
The Todd S. Swatsler Chair
Matthew Oliphant+
The Burkey Family Chair
TRUMPETS
Andrew Jeng+
co-principal
Justin Kohan+ co-principal
The Susan L. Quintenz Chair
Timothy Leasure
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
Galina Kiep bassoon
Michelle Baker horn
Corbin Castro horn
Kelsey Williams horn
Stephen Campbell trumpet
David Roode trombone
Michael Charbel trombone
Chad Arnow trombone
Christopher Blaha tuba
Sarah Waters percussion
Eric Willie percussion
Jeremy Bankson organ
Scott Cuellar piano
Roger Hines bass
Julian Maddox violin
Tea Prokes violin
Naomi Culp violin
David Rose viola
Joseph Mueller cello
Christopher White bass
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.
Mendelssohn Symphony No. 2
Yulia Van Doren, soprano
Martha Guth, soprano
Daniel McGrew, tenor
Capital University Chapel Choir
David Danzmayr, conductor
Southern Theatre // Saturday, January 25 // 7:00 PM
Southern Theatre // Sunday, January 26 // 7:00 PM
KANCHELI
Midday Prayers
Martha Guth, soprano
Ilya Shterenberg, clarinet
Intermission
Intermission lasts 15 minutes
MENDELSSOHN Symphony No. 2 “Lobgesang” (Hymn of Praise)
1 . Sinfonia: Maestoso con moto – Allegro Allegretto un poco agitato Adagio religioso
2 . Chorus, Soprano 1, and Semi-Chorus: All men, all things, all that have life and breath Praise the Lord
3 . Tenor Recitative and Aria: Sing ye Praise
4 . Chorus: All ye that cried unto the Lord
5 Soprano Duet and Chorus: I waited for the Lord
6 . Tenor: The sorrows of Death
7 . Chorus: The Night is Departing
8 Chorus: Let all men praise the Lord
9 . Soprano 1 and Tenor Duet: My song shall be always Thy Mercy
10 . Chorus: Ye nations, offer to the Lord
Yulia Van Doren, soprano
Martha Guth, soprano
Daniel McGrew, tenor
Capital University Chapel Choir
Stay for Coda: Post-Concert Conversation . Meet Yulia Van Doren, Martha Guth, Daniel McGrew, and David Danzmayr and learn more about tonight’s program .
January About the Music
Giya Kancheli (1935-2019): Midday Prayers
Instrumentation: Scored for solo clarinet, alto flute/ piccolo, oboe, bassoon/contrabassoon, horn, two trumpets, three trombones, tuba, percussion, piano, amplified bass guitar, percussion, violin, viola, cello, bass, and soprano voice
Composed: 1991
Duration: 24 minutes
Giya Kancheli’s Midday Prayers, from his 1991 cycle “Life without Christmas” possesses an unquestionable liturgical character, evident in the tolling of bells and the peaceful prayer, “Deus, Deus meus” (Psalm 22), “My God, My God, why hast thou forsaken me?” intoned by the soprano toward the work’s end . But taken as a whole, Kancheli’s work is much more than a prayer . It’s a lament . It’s a scream of terror or grief . It is a mystical and serene means of contemplation . Kancheli’s 24-minute score is like a dream, wherein familiar images pass fleetingly through our unconscious, though their concrete meaning eludes us . It is a voice crying in the wilderness . And ultimately, it is peace .
Born in Tbilisi, Georgia, Giya Kancheli left for Berlin with the dissolution of the Soviet Union in 1991, and then for Antwerp, though he ultimately returned home to Georgia, where he died of heart failure at the age of 84 . As with many of his Soviet compatriots, among them Arvo Pärt, Alfred Schnittke, and Sofia Gubaidulina, until Kancheli moved to the West, he remained musically shackled, unable to fully disclose himself artistically . Once free, his music flowered and became embraced by major figures and institutions worldwide .
Kancheli’s style is timeless and familiar, modern and archaic . Matter unfolds slowly and with determination, with all elements—color, scraps of melody, pitches at times richly resonant and at other times static, and even volume—guided by a supremely confident hand Much
of Kancheli’s music is marked by mourning or loss and though Midday Prayers occasionally evokes a sense of tragedy, it is just as often sensual or religious and even witty . Ideas come and go on their own terms, yet are provided with enough tonal and rhythmic references to make us feel tethered . If you open your ears to Kancheli’s timeless approach, his breathtaking score will reward you with sweeping swaths of sound and deliver an experience unlike that of anyone else .
Felix Mendelssohn Bartholdy (1809-1847):
Symphony No. 2 in B-flat, Op. 52 “Lobgesang”
Instrumentation: Scored for two sopranos, tenor, chorus, pairs of flutes, oboes, clarinets, bassoons, and trumpets, four horns, three trombones, timpani, organ, and strings
Composed: 1840
Duration: 60 minutes
With the trombone’s magisterial opening chorale, the Sinfonia to Jakob Ludwig Felix Mendelssohn Bartholdy’s Lobgesang, or Hymn of Praise, gets underway The chorale-style introduction, which Mendelssohn sets as a call and response between the trombones and the rest of the orchestra, serves as the anchor for this majestic, hour-long composition, which, like Beethoven’s Ninth, to which it has often been compared, incorporates orchestra, chorus, and vocal soloists Unlike Beethoven’s Ninth, however, the texts of the Lobgesang are religious by nature and Mendelssohn does not attempt to mold his composition into a four-movement symphonic scheme . Rather, the Berlin-born composer created a unique blend of symphony (the three movements found at the very start) and quasi-religious choral work (ten movements for chorus and/or vocal soloists and orchestra), all in the name of human ingenuity!
Mendelssohn’s unprecedented hybrid was composed in the early months of 1840, as part of a Leipzig festival celebrated to honor Johannes Gutenberg’s invention of movable type 400 years earlier . While many German cities celebrated the occasion, Leipzig was a perfect fit, given its role as the European epicenter of the book trade . But as biographer Larry Todd has suggested, the festival didn’t simply honor Gutenberg’s invention; “the Gutenberg Bible was championed as
the lamp that disseminated enlightenment, the means by which German realms had progressed from ignorant superstition to enlightened wisdom . ”
Mendelssohn, it would seem, was the perfect composer to craft the music for such an event in such a city . He was, after all, among the greatest living composers and, as conductor of Leipzig’s Gewandhaus Orchestra, had molded the ensemble into one of Europe’s finest . As a prolific composer of chamber music, songs, orchestral music, concertos, and oratorio, Mendelssohn also possessed—in abundance—all the tools necessary to bring all these aspects into play in celebration of Gutenberg’s miraculous gift to mankind . Indeed, even before the chorus enters for the first time (“All men”), the Sinfonia’s melodic contours, orchestration, counterpoint and pacing make it abundantly clear that we are in the hands of a master .
The vocal movements that follow the three-movement Sinfonia at the start of this musical spectacle, include Psalms and texts based on Isaiah and Romans, thereby imbuing the larger work with a quasi-sacred quality Images range from praising the Lord with lyre and song to awakening from intellectual and spiritual darkness There is no “storyline” per se, yet there is a clear movement from dark to light; indeed, the central movement, “The sorrows of death had closed all around me" (No 6), presents Mendelssohn in his darkest and most dissonant vein The composer’s sublime vocal writing incorporates Baroque-inspired recitative, operatic aria, and the oratorio style that Mendelssohn had so brilliantly demonstrated in his St. Paul Oratorio of 1836 and would again exhibit in his Elijah seven years hence .
Given the unusual scope of the work, Mendelssohn’s critics did not know what to make of his symphonicchoral amalgamation . One writer found the result an ill-conceived imitation of the Ninth, another deemed it an “unhappy conception,” and yet another simply dismissed it as “unoriginal .” This last poke in Mendelssohn’s musical eye was by none other than Richard Wagner, who took offense publicly to Mendelssohn’s inescapable Jewish roots (a story for another time) . Nor did posterity quite know what to do with this composition . Because the composer died before the work was published, editors
had to subsequently assign it an opus number and attempt to place it within the composer’s oeuvre in some logical way . Two years after the Lobgesang, Mendelssohn published his Symphony No . 3, “Scottish,” but at the time of his death, he had never published a Symphony No . 2, despite the earlier completion of what was known as the “Italian” Symphony . Some historians believe Mendelssohn had planned to revisit that earlier work before its publication but as that never happened, the “Italian” was published posthumously as Symphony No . 4 and the Lobgesang, in turn, ascribed as Symphony No . 2 . There is, however, no indication that Mendelssohn ever regarded the Lobgesang primarily as a symphonic work and in the most recent German cataloging of his works, the Lobgesang was indeed listed among the composer’s sacred vocal works .
Perhaps Mendelssohn aspired to “unattainable comprehensiveness,” to again quote Larry Todd . Certainly, hearing and performing this work today, the natural beauty and unsurpassed craftsmanship of Mendelssohn’s music-making leave us breathless . Whether or not Mendelssohn believed he was reaching for the stars, in the end, we are the beneficiaries of his thrilling quest for musical universality
© Marc Moskovitz marcmoskovitz.org
Mendelssohn Symphony No. 2
"Lobgesang" Original Text and English Translation
1. Alles was Odem hat
Alles was Odem hat, lobe den Herrn!
Halleluja, lobe den Herrn!
Lobt den Herrn mit Saitenspiel, lobt ihn mit eurem Liede
Und alles Fleisch lobe seinen heiligen Namen .
Alles was Odem hat, lobe den Herrn!
2. Lobe den Herrn
Lobe den Herrn, meine Seele, und was in mir ist, seinen heiligen Namen!
Lobe den Herrn, meine Seele, und vergiß es nicht, was er dir Gutes getan!
3. Saget es
Saget es, die ihr erlöst seid durch den Herrn, die er aus der Not errettet hat
Aus schwerer Trübsal, aus Schmach und Banden, die ihr gefangen im Dunkel waret .
Alle, die er erlöst hat aus der Not
Saget es! Danket ihm, und rühmet seine Güte!
Er zählet unsre Tränen in der Zeit der Not .
Er tröstet die Betrübten mit seinem Wort
Saget es! Danket ihm, und rühmet seine Güte!
4. Er zählet unsre Tränen
Sagt es, die ihr erlöset seid, von dem Herrn aus aller Trübsal Er zählet unsre Tränen .
Sagt es, die ihr erlöset seid, von dem Herrn aus aller Trübsal Er zählet unsre Tränen in der Zeit der Not .
5. Ich harrete des Herrn
Ich harrete des Herrn, und er neigte sich zu mir und hörte mein Fleh’n .
Wohl dem, der seine Hoffnung setzt auf dem Herrn!
Wohl dem, der seine Hoffnung setzt auf ihn!
6. Stricke des Todes
Stricke des Todes hatten uns umfangen, und Angst der Hölle hatte uns getroffen, wir wandelten in Finsternis
Er aber spricht: Wache auf, der du schläfst, stehe auf von den Toten, ich will dich erleuchten!
Wir riefen in die Finsternis: Hüter, ist die Nacht bald hin? Der Hüter aber sprach:
1. All men, all things
Let everything that has breath praise the Lord! Halleluja, praise the Lord!
Praise the Lord with stringed instruments, praise Him with your songs . And let all flesh praise His Holy Name Let everything that has breath praise the Lord!
2. Praise thou the Lord
Praise the Lord, O my soul, and all that is within me, praise His Holy Name!
Praise the Lord, O my soul, and forget not all His benefits!
3. Sing ye praise
Tell it out, that you are redeemed through the Lord, that He has saved you from your distress
Out of harsh sorrow, out of shame and slavery, which had snared you in darkness . Everything, which He has redeemed from distress . Tell it out! Thank Him, and praise His goodness! He counts our sorrows in the time of need . He comforts the sorrowful with His Word . Tell it out! Thank Him, and praise His goodness!
4. All ye that cried unto the Lord
Declare that you are redeemed, by the Lord from all your troubles . He counts our sorrows . Declare that you are redeemed, by the Lord from all your troubles . He counts our tears in the time of need .
5. I waited for the Lord
I waited for the Lord, and He inclined unto me, and heard my voice
Blessed are they whose hope is in the Lord!
Blessed are they whose hope is in Him!
6. The sorrows of death
The sorrows of death had overtaken us, and the fear of Hell had found us, we wandered in darkness .
But He said: Awake, you who sleep, arise from the dead, I will enlighten you . We called in the darkness: Watchman, what of the night?
But the watchman said:
Wenn der Morgen kommt, so wird er doch Nacht sein, wenn ihr schon fraget, so werdet ihr doch… wieder kommen und wieder fragen:
Hüter, ist die Nacht bald hin?
Die Nacht is vergangen!
7. Die Nacht ist vergangen
Die Nacht ist vergangen, der Tag aber herbeigekommen
So laßt uns ablegen die Werke der Finsternis, und anlegen die Waffen des Lichts und ergreifen die Waffen des Lichts
8. Nun danket alle Gott
Nun danket alle Gott, mit Herzen, Mund und Händen .
Der sich in aller Not will gnädig zu uns wenden, der so viel Gutes tut; von Kindesbeinen an, uns hielt in seiner Hut, und allen wohl getan .
Lob, Ehr’ und Preis sie Gott, dem Vater und dem Sohne .
Und seinem heil’gen Geist im höchsten Himmelsthrone
Lob dem dreiein’gen Geist, der Nacht und Dunkel schied von Licht und Morgenroth . Ihm danket unser Lied .
9. Drum sing ich mit meinem Liede
Drum sing’ ich mit meinem Liede ewig, dein Lob, du treuer Gott
Und danke dir für alles Gute, das du an mir getan!
Und wandel ich in Nacht und tiefem Dunkel und die Feinde umher stellen mir nach; so rufe ich an den Namen des Herrn, und er errettet mich nach seinen Güte . Drum sing’ ich mit meinem Liede ewig, dein Lob, du treuer Gott!
Und wandel ich in Nacht, so ruf’ ich deinen Namen an, ewig, du treuer Gott!
10. Ihr Völker, bringet her dem Herrn Ehre und Macht
Ihr Völker! Bringet her dem Herrn Ehre und Macht! Ihr Könige! Bringet her dem Herrn Ehre und Macht! Der himmel bringe her dem Herrn Ehre und Macht!
Die Erde bringe her dem Herrn Ehre und Macht!
Alles danke dem Herrn!Danket dem Herrn und rühmt seinen Namen
Und preiset seine Herrlichkeit!
Alles was Odem hat, lobe den Herrn! Halleluja, lobe den Herrn!
Morning comes, and also the night, if you will inquire, so you will inquire… come back and inquire again: Watchman, what of the night?
The night is past!
7. The night is departing The night is far gone, day is at hand
Let us cast off the works of darkness, and put on the armor of light .
8. Let all men praise the Lord
Now thank we all our God, with hearts, mind and hands . He turns mercifully to us in all our needs .
He is so good to us; keeps us in His protection, from our childhood on, and does all things for us .
Praise, honour and glory be to God, the Father and the Son
And to His Holy Spirit on most high heaven's throne .
Praise to the triune Spirit, Who parts night and darkness from light and dawn
Our song in thanks to Him .
9. My song shall be always of thy mercy
So I will ever sing my song to your praise, O very God .
And thank you for all the good things which you have done for me!
And though I wander in the night and deep darkness, and my enemies gather around me;
so I call upon the Name of the Lord, and He saves me of His goodness
So I will ever sing my song to your praise, O very God .
Ambling in the night, I call on Your Name, eternal, true God!
10. Ye nations, offer to the Lord
O ye people! Bring unto the Lord power and might!
O ye kings! Bring unto the Lord power and might!!
Let the heavens bring unto the Lord power and might!
Let the earth bring unto the Lord power and might!
Let everything thank the Lord! Thank the Lord and bless His Name and praise His Majesty!
Let everything that has breath praise the Lord!
Halleluja, praise the Lord!
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.
Ilya Shterenberg
Principal Clarinetist of ProMusica Chamber Orchestra and the San Antonio Philharmonic, Ilya Shterenberg balances a busy career as an orchestral musician, chamber music performer, and soloist .
Hailed by the press: “He possesses that miraculous gift of an innate musical sense…music seemed to flow toward the infinite, as if divinely ordained,” he has been featured as a soloist with both orchestras of which he is a member, performing works by Mozart, Weber, Rossini, Debussy, and Strauss .
Ilya has been featured as Principal Clarinetist with Baltimore, Cincinnati, and Seattle Symphonies, the Florida Orchestra, as well as Houston Grand Opera, and has collaborated with such conductors as Roger Norrington, Seiji Ozawa, Dennis Russell Davies, Herbert Blomstedt, Daniel Barenboim, George Solti, Pierre Boulez, and others .
Away from the orchestras, Ilya is very active as a chamber musician, festival performer, and educator . He is a member of the Olmos Ensemble, San Antonio’s preeminent chamber music group . His summer appearances have included the Colorado Music Festival and Britt Festival, as well as the Piccolo Spoleto
Festival – USA . As an educator, he has been a faculty member of the College of Charleston, the University of Texas San Antonio, and UT Austin .
A native of Ukraine, Ilya began his music education at the Kosenko Music College, in Zhitomir, the city of his birth After his immigration to the United States in 1989, he received an Artist Certificate from the Meadows School of the Arts at Southern Methodist University, after which he further studied at DePaul University in Chicago His principal teachers have included Larry Combs, Stephen Girko, and Charles Neidich
Mr Shterenberg’s performances have been heard on National Public Radio stations throughout the country as well as Chicago’s WFMT nationwide classical music network . He performs frequently as a recitalist and chamber music artist with Cactus Pear Music Festival and the North Shore Chamber Music Festival .
Ilya is a Buffet Group USA performing artist .
Photo Credit: L. Belsky
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
Anthony Trionfo
The Miriam & Bernard Yenkin Chair
OBOES
Donna Conaty, principal
The Lee Shackelford Chair
Jessica Smithorn
The Artie & Alisa Isaac Chair
CLARINETS
Ilya Shterenberg, principal
The Beth Grimes-Flood & Tom Flood Chair
Jennifer Magistrelli
The Jack & Betsy Farrar Chair
BASSOONS
Ellen Connors, principal
The ML Chair
Rachael Young
The Carolyn Merry & Bob Redfield Chair
HORNS
Stephanie Blaha, principal
The Todd S. Swatsler Chair
Matthew Oliphant+
The Burkey Family Chair
TRUMPETS
Andrew Jeng+ co-principal
Justin Kohan+
co-principal
The Susan L. Quintenz Chair
Timothy Leasure
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
Sarah Lee
bassoon
Rachel Charbel violin
Sophie Pariot violin
Joseph Skerik viola
James Kang viola
Matthew Zory bass
ORCHESTRA MANAGER
Suzanne Jennison
**Begins the alphabetical listing of string players who participate in a system of rotated seating.
*On leave for the 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.
Death and the Maiden
Ilya Shterenberg, clarinet
Vadim Gluzman, violin & leader
Southern Theatre // Saturday, March 1 // 7:00 PM
Southern Theatre // Sunday, March 2 // 7:00 PM
SCHNITTKE
(arr . Spivakov)
MOZART
SCHUBERT
(arr . Mahler)
Suite in the Old Style
I . Pastoral
II . Ballet
III . Minuet
IV Fugue
V . Pantomime
Clarinet Concerto in A Major, K. 622
I Allegro
II . Adagio
III . Rondo – Allegro
Ilya Shterenberg, clarinet
Intermission
Intermission lasts 15 minutes
Death and the Maiden (arr. for string orchestra)
I . Allegro
II . Andante con moto
III . Scherzo
IV . Presto
Stay for Coda: Post-Concert Conversation Meet Ilya Shterenberg and Vadim Gluzman and learn more about tonight’s program
March About the Music
Alfred Schnittke (1934-1998): Suite in the Old Style (arr. Spivakov)
Instrumentation: Scored for pairs of oboes and horns, strings, and harpsichord
Composed: 1972, arranged in 1987
Duration: 15 minutes
There is little indication within the score of Alfred Schnittke’s Suite in the Old Style to suggest it sprang from the pen of one of the world’s most intensely progressive composers There are various reasons for this, including—but not limited to—Schnittke’s varied search for style Whether or not he ultimately adhered to his early words, “The goal of my life is to unify serious music and light music, even if I break my neck doing so,” Schnittke’s style was often evolving, depending on the circumstances of the composition at hand In this way, he was much like his Russian predecessor Dmitri Shostakovich, who was equally adept at composing effervescent humorous film scores or symphonies that proved as violent and progressive as anything of their day
Though born in the Volga-German Republic of Russia, Schnittke came of age musically in Vienna, where he found himself walking amidst the musical ghosts and came to feel he was a link in the chain of music’s past and future . Back in Russia, his studies continued, and he was subsequently appointed to the Moscow Conservatory's composition faculty . Soon enough, however, Schnittke and his scores were viewed as suspect by the Soviet regime, again like Shostakovich, and by 1980 he was forbidden to travel beyond the country’s borders . He managed to leave the USSR for Hamburg in 1990, but he was doomed by ill health (though declared clinically dead on more than one occasion, he managed to recover and continue composing) . He died in 1998, at 63, and was buried with state honors in Moscow, near other prominent Russian composers, including Shostakovich .
Schnittke’s Suite in the Old Style was composed in 1972 for violin and piano or harpsichord and arranged in 1987 for chamber orchestra by Russian violinist Vladamir Spivakov
for his Moscow Virtuosi From the start of the Pastoral, we might as well be listening to the work of an 18th-century composer, with its lilting oboe and violin melodies, rustic color, and effortless counterpoint It is only with the occasional wink-wink that we are treated to Schnittkeesque passages of humor, snapping us back into our century Such moments can be heard in the subtle, catchy cross-rhythms toward the end of the charming Minuet and the ensuing Fugue and in the humorous orchestration and inconclusive concluding bars of the otherwise nostalgic Pantomime
Wolfgang Amadeus Mozart (1756-1791):
Concerto for Clarinet in A Major, K. 622
Instrumentation: Scored for solo clarinet, pairs of flutes, oboes, horns, and strings
Composed: 1791
Duration: 28 minutes
The final year of Mozart’s meteoric life is among the most interesting and heartbreaking periods imaginable, at least from the vantage point of a modern-day perspective . On the one hand, the thirty-five-year-old proved miraculously productive, dispatching some of his most astounding works, including two operas, The Magic Flute and La Clemenza di Tito, his final piano concerto, the E-flat string quintet, and much of the Requiem . The financial struggles that had plagued him a year or so earlier appear to have been somewhat alleviated, at least partially as a consequence of his recent operatic successes . Then, while in Prague in September of 1791, Mozart fell ill . It proved the beginning of the end .
Somehow Mozart managed to dispatch a concerto for clarinet in the little time remaining to him, though much of that musical journey remains a mystery . We know that in 1773, two brothers, Anton and Johann Stadler, clarinetists both, appeared at Vienna’s Kärntnertortheater, marking their first known public performance Thereafter, they vied for various jobs in the Austrian capital, where, like Mozart, they always hoped to serve the court Both were finally invited to join the imperial court orchestra in 1782, and it was around this time that Mozart, who had moved to Vienna not long before, likely first encountered them
Though Anton appears to have been a master of “a great many wind instruments,” it was his clarinet playing that drew Mozart to him By 1784, Mozart had composed a work expressly for Stadler’s use, the Gran Partita, which
featured writing for both the clarinet and the basset horn, a member of the clarinet family whose extended keys allowed for a deeper register Mozart was equally taken by the instrument and Stadler’s mastery of it, so much so that between 1783 and 1785, he composed thirteen different works incorporating the basset horn As fellow masons, Mozart grew quite fond of the clarinetist and his playing, despite the latter being both irresponsible and a thief; among other facts, Stadler falsely claimed credit for the invention of the basset horn Still, Mozart managed to see past, or outright ignore, Stadler’s shortcomings, and in the end, their partnership left the world with some of its most sublime music .
Mozart’s manuscript to the Clarinet Concerto has not survived—Stadler claimed it was stolen from him, though Mozart’s widow wrote to a publisher that Stadler had pawned it . When it was finally published in 1803, it had been rescored for clarinet in A, which was the far more common instrument (indeed, the basset horn fell out of use with Stadler’s death and no instruments from the time have survived) In those cases where the basset horn’s register was too low for the clarinet, passages were transcribed up the octave It is believed that Stadler played the work’s premiere in Vienna in October of 1791 . By November, Mozart was bedridden, in pain, suffering from swelling and vomiting . Though he attempted to complete his latest undertaking, the Requiem, he died on December 5th, before the work could be finished . The Clarinet Concerto, then, Mozart’s last completed work, proved his swan song .
The Clarinet Concerto is in the standard three movements, as was typical of Mozart’s pen . While unusual is the fact that there is no cadenza in either the first or last movement, the work is imbued with Mozart’s unsurpassed late-life beauty and grace and the exquisite balance he achieved between the soloist and the orchestra has never been surpassed
Franz Schubert
(1797-1828): "Death and the Maiden" (arr. Mahler) for String Orchestra
Instrumentation: Scored for string orchestra
Composed: 1824, arranged in 1896
Duration: 45 minutes
Despite living but thirty-one years, Franz Schubert’s miraculous output contains over 1500 compositions, including some 40 liturgical works, 20 stage works (opera,
incidental music), symphonies, overtures, and chamber music of all types, including more than 20 string quartets Then there is his piano music and songs, which comprise the largest bulk of his musical portfolio, numbering well over 600 songs and nearly that much piano music And what is arguably more miraculous than the sheer numbers is the quality of what he left behind No composer ever bettered Schubert in the art of the Lied (song), while his entire oeuvre remains as vibrant and powerful as it did when the music first flowed from his pen
While an intense lyricism permeates everything Schubert wrote, his penchant for song composition occasionally influenced larger settings . Such is the case with the beloved D minor String Quartet, wherein Schubert looked to his earlier song, “Death and the Maiden,” as the basis for a set of variations . The dark nature of German poet Matthias Claudius’ text, which tells the brief story of a young Maiden being approached by Death, was one of many macabre themes that resonated so strongly within the 19th-century European mind . Indeed, Schubert set many such poems, not the least of which includes his blockbuster, the Erlkönig. Such poetry certainly resonated particularly deeply with Schubert, who was also caught up in his own life-and-death struggle . During the period he was writing the D minor String Quartet (1824), he succumbed to syphilis and soon came to realize he was dying .
To a friend, the unhappy composer wrote:
“Think of a man whose health can never be restored, and who from sheer despair makes matters worse instead of better . Think, I say, of a man whose brightest hopes have come to nothing, to whom love and friendship are but torture, and whose enthusiasm for the beautiful is fast vanishing; and ask yourself if such a man is not truly unhappy ”
This, then, might be regarded as the overarching theme of the D minor Quartet, for although the song itself serves as the theme for Schubert’s extraordinary variations in the Andante, the emotional breadth of which far outpaces Claudius’ original poem or even Schubert’s subsequent song, the nature of death itself imbues the entire work, from the score’s violent
unison opening notes to the daemonic Scherzo (which has been described as a dance of the daemon fiddler), to the tarantella—an Italian dance once believed to cure the madness brought on by the bite of a tarantula spider— found at the close
No wonder, then, that conductor and composer Gustav Mahler (1860-1911) found Schubert’s quartet so compelling, for few composers have ever had a greater preoccupation with death . Indeed, Mahler feared writing a Ninth Symphony, knowing that number had signaled the end for a number of his symphonic predecessors, Schubert among them! Matters weren’t helped by the death of Mahler’s seven-year-old daughter of scarlet fever and diphtheria, in 1907, for shortly thereafter he was diagnosed with a defective heart, a malady his wife regarded as a death sentence Indeed, Mahler would be dead less than four years later .
For Mahler, who conceived of music on a larger-thanlife scale, expecting only four players to dispatch the overwhelming power inherent in Schubert’s quartet
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)
score must have seemed nigh impossible And anyway, various composers had long been setting Schubert’s dramatic songs for orchestra, so in 1896 the composer began drafting a string orchestra version of Schubert’s quartet For the most part, Mahler did little tinkering with Schubert’s score, and simply intended for the earlier composer’s music to be played by larger sections . The addition of double bass, however, considerably deepened the work’s lower-end, a value-added punch that contributes significantly to the overall effect . Schubert’s original needed nothing, for like all of the composer’s scores, it possesses a depth and power all its own . But Mahler’s arrangement adds incontrovertible drama to Schubert’s music, confirming the adage, more is indeed more!
© 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
Supporting ProMusica
Aaron Diehl
Pianist Aaron Diehl has quietly re-defined the lines between jazz and classical, and built a global career around his nuanced, understated approach to music-making .
Praised for his “melodic precision, harmonic erudition, and elegant restraint” (The New York Times), Diehl has performed with musical giants such as Wynton Marsalis, Cécile McLorin Salvant, Tyshawn Sorey, and Philip Glass, and has been a soloist with the New York Philharmonic, Los Angeles Philharmonic, San Francisco Symphony, and the Cleveland Orchestra, working with conductors like Yannick Nézet-Séguin, Marin Alsop, and Alan Gilbert . In 2023, Diehl was named Artistic Director of 92NY’s Jazz in July Festival, succeeding the legendary Bill Charlap .
With an expansive, orchestral, lyrical approach to the piano that channels predecessors like Ahmad Jamal, Erroll Garner, Art Tatum and Jelly Roll Morton, Diehl has headlined the Monterey, Detroit, and Newport Jazz Festivals, and had residencies at Jazz at Lincoln Center, the Village Vanguard, SF Jazz, and many more . He counts among his mentors towering figures such as John Lewis, Kenny Barron, Fred Hersch, Marcus Roberts, and Eric Reed .
2024-25 season highlights include two world premieres with The Knights at Carnegie Hall: Suite from Book of Ways by Keith Jarrett and Michael Schachter’s rhapsody honoring the legacy of George Gershwin, which will also be performed with co-commissioner ProMusica Chamber Orchestra . Diehl tours with the Tyshawn Sorey Trio and Sandbox Percussion and with his own Aaron Diehl Trio . He will also appear with the Baltimore and Nashville Symphonies, and the Frankfurt Radio Big Band
In 2023, Diehl released his GRAMMY-nominated recording of Mary Lou Williams’s Zodiac Suite with The Knights and Eric Jacobsen . As the first-ever studio recording of Zodiac Suite, it has been touted as “a joyous, enchanting creation… a triumph” (The Guardian) The album is Diehl’s fourth on Mack Avenue Records .
Diehl was born in Columbus, Ohio, where he grew up listening to his grandfather, pianist and trombonist Arthur Baskerville . In 2002, at Jazz at Lincoln Center’s Essentially Ellington competition, where he placed as a finalist, Diehl attracted the attention of Wynton Marsalis, who invited him to join his septet for a European tour . After studying at Julliard, Diehl was awarded the 2011 American Pianists Association’s Cole Porter Fellowship . Diehl, who holds commercial single and multi-engine pilot certifications, inherited a lifelong love of flying from his father who was himself an avid pilot . Diehl has been a Steinway Artist since 2016
Photo: Maria Jarzyna
Michael Schachter
Michael Schachter is a composer, writer, pianist, and scholar . His compositions have been performed by leading orchestras, choirs, chamber ensembles, and soloists around the country, in venues ranging from the Hollywood Bowl to the Smithsonian to the Minnesota
Centennial Showboat
.
Current projects include a new concerto for pianist Aaron Diehl honoring the centennial of Gershwin’s Rhapsody in Blue, premiering at Carnegie Hall (October 2024), as well as an album-length work for Grammy-winning choir Conspirare to inaugurate their new performance, recording, and community center in Austin, TX .
His first music-theatrical work “The Black Clown” (composer, co-librettist) premiered to sold-out runs at the American Repertory Theater and Lincoln Center, where it was a NYT Critic’s Pick . He is currently working with Seaview, Play Hooky, and Creative Partners Productions in developing future productions for Broadway and touring . His concerto for Grammynominated violinist Tessa Lark, Cycle of Life, finally
premiered after pandemic delays in April 2022 and was profiled on PBS (“Craft in America”), as well as featured in the final concert of the 2023 Big Ears Festival .
As a scholar, Michael recently completed a three-year term as Junior Fellow in the Harvard University Society of Fellows . He lives with his wife and two young children in Burlington, VT
Photo: Deborah J Karson
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
Anthony Trionfo
The Miriam & Bernard Yenkin Chair
OBOES
Donna Conaty, principal
The Lee Shackelford Chair
Jessica Smithorn
The Artie & Alisa Isaac Chair
CLARINETS
Ilya Shterenberg, principal
The Beth Grimes-Flood & Tom Flood Chair
Jennifer Magistrelli
The Jack & Betsy Farrar Chair
BASSOONS
Ellen Connors, principal
The ML Chair
Rachael Young
The Carolyn Merry & Bob Redfield Chair
HORNS
Stephanie Blaha, principal
The Todd S. Swatsler Chair
Matthew Oliphant+
The Burkey Family Chair
TRUMPETS
Andrew Jeng+
co-principal
Justin Kohan+ co-principal
The Susan L. Quintenz Chair
Timothy Leasure
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
Immanuel Davis flute
Michael Cox alto saxophone
Stephen Laifer horn
Brad Granville horn
David Roode trombone
Michael Charbel trombone
Sterling Tanner trombone
Ryan Kilgore
percussion
Scott Cuellar piano
Julian Maddox violin
Carlos Chacon violin
David Rose viola
Yael Senamaud viola
Pei-An Chao cello
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.
Aaron Diehl & Rhapsody
Aaron Diehl, piano
Michael Schachter, composer
David Danzmayr, conductor
Southern Theatre // Saturday, May 10 // 7:00 PM
Southern Theatre // Sunday, May 11 // 7:00 PM
STILL
SCHACHTER
BRAHMS
Darker America
Being and Becoming, Rhapsody for Piano and Orchestra (Commission and Midwest Premiere)*
Aaron Diehl, piano
Intermission
Intermission lasts 15 minutes
Symphony No. 3 in F Major, Op. 90
I . Allegro con brio
II . Andante
III . Poco Allegretto
IV . Allegro
BRAHMS Hungarian Dance No. 1
*Lead commissioning by ProtoStar Group and Carnegie Hall, co-commissioned by ProMusica Chamber Orchestra.
Supporting Sponsor:
Nakamichi Foundation
Stay for Coda: Post-Concert Conversation . Meet Aaron Diehl and David Danzmayr and learn more about tonight’s program . Support for Michael Schachter’s commission is made possible by Dr. Richard and Yvonne Heather Burry, and an anonymous donor.
May About the Music
William Grant Still (1895-1978): Darker America
Instrumentation: Scored for pairs of flutes, oboes (plus English horn), clarinets and bassoons, horn, trumpet, trombone, piano, percussion, and strings
Composed: 1924
Duration: 13 minutes
William Grant Still might rightly be considered one of the most “American” composers contemporary audiences have never heard of . This fact has nothing to do with Still’s ability, likeability, or output, for his music is accessible and honest and there is a lot of it—operas, symphonies, tone poems, songs, chamber music, and the like The reason you may not have heard of Still is because he was Black and until rather recently, women and people of color faced tremendous difficulties attempting to break through the world of the dead white composer, or even the living white composer Fortunately, that is now changing and audiences— ProMusica audiences among them—are experiencing the music of an unprecedented swath of composers that few of us knew existed just a few decades ago
Still grew up in Mississippi and Arkansas, the son of a store owner who died when he was but three months old . His mother was a schoolteacher, and it was Still’s stepfather who nurtured the young man’s love of music . Though Still initially pursued a Bachelor of Science degree (his mother had designs on his becoming a doctor), he eventually followed his love of music to the Oberlin Conservatory, where he pursued composition, all the while assisting the janitor and doing other small jobs to cobble enough tuition money together .
Following a stint in the navy, Still moved to Harlem, where he embraced the artists of the Harlem Renaissance, worked with blues musician W .C . Handy, and played in dance bands (including those of Artie Shaw and Paul
Whiteman), while continuing to compose and arrange His first real break came with his “Afro-American” Symphony No 1; when it was debuted by the Rochester Philharmonic, it was the first time the work of a Black composer had been performed by a major American orchestra Still went on to compose prodigiously, imbuing his scores with the African American experience, blues, jazz, and the classical techniques he had absorbed through the study of composition largely by way of white composers, among them Edgard Varèse, among the most progressive composers of his day And yet, despite operatic successes, performances with the likes of the Los Angeles Philharmonic and soundtrack arrangements for major studio films (Pennies from Heaven, Stormy Weather), Still remained under the radar .
Still’s 13-minute single-movement Darker America is typical of his unique compositional approach; thus, it seems only fitting that we draw on his words for the music’s description:
“Darker America, as its title suggests, is representative of the American Negro . His serious side is presented and is intended to suggest the triumph of a people over their sorrows through fervent prayer . At the beginning, the theme of the American Negro is announced by the strings in unison . Following a short development of this, the English horn announces the sorrow theme which is followed immediately by the theme of hope, given to muted brass accompanied by strings and woodwind The sorrow theme returns treated differently, indicative of more intense sorrow as contrasted to passive sorrow indicated at the initial appearance of the theme . Again hope appears and the people seem about to rise above their troubles . But sorrow triumphs . Then the prayer is heard (given to oboe); the prayer of numbed rather than anguished souls . Strongly contrasted moods follow, leading up to the triumph of the people near the end, at which point the three principal themes are combined ”
FROM THE COMPOSER:
Michael Schachter (b. 1987): Being and Becoming, Rhapsody for Piano and Orchestra
Instrumentation: Scored for pairs of flutes, oboes, clarinets (the second doubling on bass clarinet), bassoons, alto saxophone, two horns, trumpet, trombone, timpani, percussion, and strings
Composed: 2024
Duration: 20 minutes
Here —
Now —
A century after the premiere of the Rhapsody in Blue, George Gershwin’s sensational “experiment in modern music” anchors United Airlines safety videos and orchestral pops concerts .
Yet, despite its senescence—as well as the discomfiting questions of appropriation rightly raised by contemporary critics—Gershwin’s Rhapsody stubbornly remains an object of my unconditional love and fascination Its vigor, its earnestness, its clarity of expression, its imperviousness to cuts or rearrangements But also—as an evocation of place and time 1920’s New York? Not so much as central Massachusetts in the midaughts: sitting at the piano in my teacher’s studio, then dancing like fools to old Bernstein recordings with her son, who became my best friend There, some creative pilot light was lit inside me, the flames of which led (however windingly) to this piece, in this place, in this time
For Gershwin—a first-generation Jewish immigrant, a high-school dropout hawking sheet music on the street, desperate to break into a snobbish cultural aristocracy all too eager to shut him out—the rhapsody was the thrum of the burgeoning metropolis, the Yiddishkeit of his family life meeting the virtuosic flourishes of Liszt and the song forms of Tin Pan Alley .
In my own rhapsody, I set out not to create a pastiche of Gershwin’s sound world, but rather to take the context of his rhapsodic project as impetus to reckon with the here and now . In my conversations with Aaron Diehl throughout this piece’s development, we alighted on
several points of cultural fascination that wove themselves into the fabric of its creation:
• Human creativity funneled through the frenetic barrage of short-form social media “content” — in a way, a cultural pendulum-swing back to the varietyshow/vaudeville/short form silent films dominant in the early 20th century…
• The dissolution of time- and place-based locality in the digital age We carry an instantly accessible history of the world’s recorded music in our pockets at all times…
• The profound, fleeting beauty of making unamplified music, live, in a space together –to delight in the vibrational resonance…
• And, in loving rebuke to Gershwin, who spoke of freeing the rhapsody from “cling[ing] to dance rhythms” — encouraging piano and orchestra to embrace the exact opposite, the ecstatic flow state that only arises through the deep embrace of rhythmic pocket .
Through these priorities and more, my piece came to life as a proper, old-school rhapsody, an extension of a through-line from Liszt, Bartok, and Gershwin to the Beatles, Queen, and Radiohead: a single-movement work, tuneful and vernacular, moving more by the hot thrill of impulse than the cool logic of austere design .
The title, Being and Becoming, refers not only to the sprawling, kaleidoscopic form of the rhapsody, but more broadly to the inescapable interplay between presence and transience . In a sense, each of us is a collective—a partnership of particles and spirit, held together in that dynamic combination of consistency and change that we call the self, experiencing an impulsive, episodic assortment of infinite present moments, until we eventually dissipate and return to the source
We know little But we do know that we are here, together, now Being, and becoming
Johannes Brahms (1833-1897): Symphony No. 3
in F Major, Op. 90
Instrumentation: Scored for pairs of flutes, oboes, clarinets and bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, and strings
Composed: 1883
Duration: 33 minutes
Summers for Johannes Brahms often meant time away from Vienna, the city he had adopted as his home after visiting for the first time in 1862 (he was born and came of age in Hamburg, where his father was a professional double-bassist) . The summer of 1883 was spent in the German town of Wiesbaden, a picturesque spa town on the Rhine River . Brahms’s lodgings that summer included an airy studio with a view to the river, which he described as luxurious “as if I were trying to imitate Wagner .” (In truth, given his penchant for luxury, Wagner would probably have preferred Wiesbaden’s Biebrich Palace, the ducal palace situated on the bank of the Rhine) . The view Brahms enjoyed during much of that summer, as it turned out, played a significant role in the music he was crafting, his Symphony in F major
The year 1883 was marked by several important births of which Brahms would have been ignorant: those of author Franz Kafka and composers Anton Webern and Edgar Varese, all three of whom would significantly reshape the world Brahms would leave behind toward the century’s close Of one death, in February of that year, he was particularly aware: that of Richard Wagner Brahms had had a long and complicated history with Wagner going back decades But although Brahms’ musical principles were decidedly opposite to those of Wagner—Brahms held fast to Classical forms and structures while Wagner believed that by creating new schemes, he was personally forging the music of the future—Brahms recognized Wagner’s genius . He was personally involved with preparations for Wagner performances in Vienna and later was the proud possessor of the manuscript of Wagner’s opera Tannhäuser. Wagner, for his part, had less than flattering things to say about Brahms and later demanded to have his manuscript back! Regardless, upon hearing of Wagner’s death, Brahms, who was in the middle of leading singers in rehearsal, laid down his baton and announced, “Today we sing no more . A master has died . ”
That same year Brahms had become smitten by a twentysix-year-old contralto named Hermine Spies whom he had met that January in the town of Krefeld, where he had gone to perform some of his music By this time, Brahms was a fifty-year-old, rotund cigar-smoking and alcoholimbibing musician whose recent compositions had made him famous He was in great health and had never been married Just how romantically he regarded Spies, “my songstress,” is impossible to know but certainly one of the reasons he opted for the town of Wiesbaden in the summer of 1883 was because his “Rhine-maiden” would be there too .
As is evident in the opening bars of the Third Symphony, Hermine was hardly the sole inspiration for Brahms’ latest opus . Following two majestic wind chords, the violins passionately decry a theme evoking Schumann’s Rhenish Symphony, an earlier work also composed on the banks of the Rhine . Brahms’ relationship to Schumann dated to the 1850’s, when Schumann had championed the younger composer, publicly regarding him as heir to Beethoven’s legacy . Schumann and his wife Clara would serve as mentors to Brahms . In return, Brahms would fall deeply in love with Clara .
All of which is to say, Brahms’ Op .90 is rich in cyphers . Indeed, the first three bassline pitches—F-A-flat-F, which ascends up a third and then to the octave—are believed to be musical shorthand for Brahms’ musical motto: Frei aber froh, Free but happy . In truth, Brahms suffered romantically, though judging from the exalted character of his F major Symphony, he appears to have been in high spirits that summer . These three pitches, meanwhile, will come to dominate not simply the opening Allegro con brio but the other three movements also .
It had now been six years since his previous symphony . In the meantime, Brahms had composed his monumental Violin Concerto, a pair of orchestral overtures, and his Second Piano Concerto and the composer was at the height of his powers While his First Symphony had caused him tremendous struggle, he had since learned to compose with “fluency and ease,” evident not simply in Third Symphony’s inspired, organic handling of material but by the fact that it was all but complete come October Indeed, Brahms played through parts of the symphony on the piano that month for Dvořák, who believed it surpassed Brahms’ earlier symphonies, if not in grandeur, then in beauty
As the musical world had come to expect, Brahms looked to a time-tested, classically minded framework Structurally, three of the four movements—I, II, and IV—rely on sonata form, while the C minor Poco allegretto is cast as an easily identifiable ternary—A-B-A— form The work as a whole breathes a lyrical freshness and is rarely freighted with typical Brahmsian weightiness Examples are to be found in the light-hearted clarinet theme of the second movement, which Brahms marks espressivo semplice (expressive, simple) before passing it effortlessly along to other members of the orchestra, the waltz-like theme of the Poco allegretto and the fluid, easy theme of the finale, which again may well mirror the flow of the Rhine river, but a few steps away from Brahms’ Wiesbaden doorway .
Admittedly, the fourth movement contains some of the most powerful orchestral writing Brahms would ever create, yet the overall effect remains seemingly effortless . Whether or not we regard the atmospheric writing towards the end as Brahms tipping his hat to Wagner, his late rival, there is no mistaking the Schumann-esque reprise of the opening . Brahms then allows his noble score to simply fade away . This was a daring end for a symphonic work, but it left no doubt about the symphonic confidence Brahms was experiencing during the halcyon summer of ‘83 .
Johannes Brahms (1833-1897): Hungarian Dance
No. 1 in G Minor, WoO.1
Instrumentation: Scored for pairs of flutes, oboes, clarinets and bassoons, four horns, two trumpets, timpani, and strings
Composed: 1868
Duration: 4 minutes
Nineteenth-century Vienna was a true melting pot, the capital of a monarchy that stretched nearly 240,000 square miles, making it the second-largest geographical country on the continent (after the Russian Empire) On any given day, one might hear Czech, Croatian, Polish, Ruthenian, Romanian, Bosnian, Serbian, Slovak, Slovene, Italian, or Romani, not to mention Yiddish, spoken in Vienna’s streets Among those speaking Hungarian was violinist Eduard Hoffmann, who came to the capital in 1842 to study music, though he was subsequently banished from the country for participating in the Hungarian Revolution of 1848 . Having adopted the Hungarian name Ede Reményi, the violinist left for Germany, where he met a fifteen-year-
old pianist and would-be composer named Johannes Brahms Before the pair could work together, Reményi, who was being pursued by German authorities, fled to the United States He returned to Europe several years later, toured with Brahms, and ultimately led a highly successful concert career
During their time together, Reményi introduced Brahms to the Csárdás, a traditional Hungarian folk dance in 2/4 or 4/4 meter that typically began slowly and gradually accelerated The exotic warmth and buoyant spirit of these dances captivated the otherwise serious Brahms, so much so that he later composed twenty-one Hungarian Dances of his own, scored for piano four hands . Though some of the melodies Brahms created anew, most of his dances drew on actual Csárdás themes, such as the G minor dance heard tonight . The music’s golden glow and simmering Hungarian passion blossomed with Brahms’ arrangement for orchestra, though he must have been more than satisfied with his original piano versions of the dances (published in 1869 and 1880 respectively), for they proved among the most popular and financially rewarding works Brahms would ever compose . An aside: on YouTube, you can hear Brahms's own (high-pitched!) voice in an Edison recording the composer made, along with a piano performance of this very Hungarian Dance, though it will come as no surprise that the recording quality in 1889 left much to be desired . Play on, Herr Doktor Brahms!
© Marc Moskovitz marcmoskovitz.org
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
Boris Astafiev + bass, 1st year
Current Residence: Cincinnati, OH
Jessica Smithorn oboe, 6 years
The Artie & Alisa Isaac Chair
Current Residence: Chattanooga, TN
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
Nadine Hur principal flute, 4 years
The Dana Navin Schultz Chair
Current Residence: St Louis, MO
Ilya Shterenberg principal clarinet, 7 years
The Beth Grimes-Flood & Tom Flood Chair
Current Residence: San Antonio, TX
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
Anthony Trionfo flute, 4 years
The Miriam & Bernard Yenkin Chair
Current Residence: New York, NY
Jennifer Magistrelli clarinet, 13 years
The Jack & Betsy Farrar Chair
Current Residence: Richfield, 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
Donna Conaty principal oboe, 35 years
The Lee Shackelford Chair
Current Residence: Santa Cruz, CA
Connors principal bassoon, 14 years
The ML Chair
Current Residence: St Louis, MO
Ellen
Rachael Young bassoon, 9 years
The Carolyn Merry & Bob Redfield Chair Current Residence: Cincinnati, OH
Stephanie Blaha principal horn, 7 years
The Todd S Swatsler Chair Current Residence: Wadsworth, OH
Justin Kohan + co-principal trumpet, 1st year
The Susan L Quintenz Chair Current Residence: Pittsburgh, PA
Rajesh Prasad percussion, 11 years
The Bob Redfield & Mary Yerina Chair Current Residence: Raleigh, NC
Matthew Oliphant + horn, 2 years
The Burkey Family Chair Current Residence: Chicago, IL
Timothy Leasure trumpet, 21 years Current Residence: Pickerington, OH
Jeanne Norton principal harp, 45 years
The Sustaining Board Chair Current Residence: Columbus, OH
Andrew Jeng + co-principal trumpet, 1st year
The Susan L Quintenz Chair Current Residence: Cincinnati, 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
+ one-year appointment
* on leave for the 2024-25 season
2023-2024
Annual Fund Contributors
ProMusica Chamber Orchestra is grateful to the following donors who support our efforts to deliver a world-class and unique classical music experience. We invite you to join our circle of supporters online at promusicacolumbus.org, or by calling ProMusica’s Development Office at 614.464.0066 ext. 104.
MAESTROS
$10,000 AND ABOVE
Gifts from Individuals
Deborah Anderson
Lavea Brachman and Andrew O. Smith
Margaret and Jerome Cunningham
Jim Ginter
Joan Herbers
Susan C. Johnson
Michael Jones and Jody Croley Jones
Helen Liebman and Thomas Battenberg
Kathryn Sullivan
Todd Swatsler
Amy Thompson and Stephen Fechtor
Barbara Trueman
Miriam and Bernie Yenkin
Mary Yerina and Bob Redfield
Anonymous
Support from Corporations, Foundations & Public Agency Funds
American Electric Power
Bank of America
Kenneth L. Coe and Jack Barrow Fund of The Columbus Foundation
The COR Group of UBS
Financial Services
The Crane Family Foundation
DGD Group, Inc.
The Fox Foundation
Greater Columbus Arts Council
Ingram-White Castle Foundation
Nationwide
Ohio Arts Council
PNC
ProMusica Chamber Orchestra
Sustaining Board
The Reinberger Foundation
The Shackelford Family Fund of The Columbus Foundation
The Siemer Family Foundation
ENCORE
$5,000 - $9,999
Gifts from Individuals
John F. Brownley
The Michael and Paige Crane Fund of The Columbus Foundation
Keith Dufrane
Nancy and Steve Falk
Beth Grimes-Flood and Tom Flood
Donna Laidlaw
The Mary and Robert Lazarus Fund of The Columbus Foundation
Elliott S. Luckoff
The Fran Luckoff Family Fund of The Columbus Foundation
Nancy Marzella
The Quintenz Family
Mary Frances and Bob Restrepo
Anne Powell Riley
Hugh Schultz
Sallie J. Sherman
Becky Wright
SPECIAL GIFTS
In Memory of Frances N. Lazarus
Peggy Lazarus
Support from Corporations & Foundations
BakerHostetler
E. Nakamichi Foundation
Ice Miller LLP
The Hattie and Robert Lazarus Fund of The Columbus Foundation
Ologie
Porter, Wright, Morris & Arthur LLP
Vorys, Sater, Seymour and Pease LLP
SYMPHONY
$3,000 - $4,999
Gifts from Individuals
Lauren Bonfield and Stephen Keyes
Lynn Elliott
Betsy and Jack Farrar
Wendy and Bill Faust
Sylvia Fergus
Adam and Kate Ferguson
Dr. Dara A. and Mark H. Gillis
Laurie and Thomas Hill
Artie and Alisa Isaac – Yellow Springs Community Foundation
Drs. Bill Mitchell and Wayne Lawson
Marilyn and Randy Miller
Deborah Raita
David R. Schooler
Kara Trott and Bob Philips
Jayne Wenner and Peter Costanza
Dyann and Joel Wesp
Anonymous
Support from Corporations & Public Agency Funds
Cardinal Health
City of Columbus Recreation and Parks Department
Huntington Yenkin-Majestic Paint
SPECIAL GIFTS
In Memory of Pamela Romeo Elliott
James Elliott
CONCERTO
$2,000 -$2,999
Gifts from Individuals
Jim and Traci Blair
Catherine and John Brody
Mary and Steve Burkey
Trish and John Cadwallader
Linda and Bill Habig
Steven Hillyer
Suzanne Karpus
George F. Knight
Susan and Barry Lubow
Margaret A. Malone
Caitlin Sherman and Vineeth Sukrithan
Ann and Doug Teske
Roger and Sue Whitaker
SPECIAL GIFTS
In Honor of Katherine McLin
Gary and Sara Gislason
RHAPSODY
$1,000 - $1,999
Gifts from Individuals
Robert Allen and Diane Weaver
Julia and Milt Baughman
Sally and Roger Baughman
Pamela and John Beeler
Evelyn Behm
Ellen Bowden
Bob and Julie Connors
Mary Jo Conte
Mark and Mindy Corna
Patt and Chuck DeRousie
Matthew Fornshell
Ann and Jack Fowble
Sherri Geldin
Jack and Joan George
Katie and Jake Gibson
David Hedgecoth
Mark and Mary Howard
The Josenhans Family Fund of The Columbus Foundation
Benita Kahn
Kurt and Gerti Lausecker
Susan and Bill McDonough
Diane McLin
Gerald and Ann Newsom
Julie and Bob Rutter
William and Patricia Sadataki
Stacie and Mark Sholl
Sadie and Seyman Stern
Pam Hussen and Patrick Vincent
Adam Wagenbach and Kathleen Murphy
Lillian Webb
Robert F. Wing
John and Sherry Young
Anonymous
Support from Corporations
Kegler, Brown, Hill + Ritter
SPECIAL GIFTS
In Honor of Lavea Brachman
Judith and Merom Brachman
In Memory of George Corey
Georgeann Corey
In Memory of Allene N. Gilman
The Allene N. Gilman Charitable Trust
In Honor of Dr. Wayne Lawson and Dr. William Mitchell
Cordelia Robinson
SONATA
$500 - $999
Gifts from Individuals
George and Vanessa Arnold
Paul and Tere Beck
Barbara and David Brandt
Robert Byrd
David and Susan Carr
Patricia Cash Isaacson
Cindy and John Deliman
Lindsey and Kevin Dunleavy
Cornelia Ferguson
Bebe and John Finn
Mabel Freeman
Brian Fruchey
Mark Gibson
Patricia Hadler
Robin and Peter Hersha
Joshua and Brandy Hill
Ann and James A. Jones
Debby and Ira Kane
Deborah and Douglas King
Syd Lifshin
Mary Pat Martin and Rick Livingston
Warren and Dai-Wei Lo
Jane McMaster
Susan C. Meiling
Christine and Kirk Merritt
Larry and Peg Neal
Mariko Kaneda-Niwa and David A. Niwa
Angela and John Petro
Sue Porter and Mike Sayre
Harry and Sue Pukay-Martin
Nathan Riley
Patrick Ross
Paulette Schmidt
The Severns Giving Fund - William and Maureen Severns
Ed and Nancy Strause Fund at The Columbus Foundation
Judi and James Stillwell
Support from Foundations
Henry W. & Martha L. Bruner
Philanthropic Fund at the Buffalo Community Foundation
SPECIAL GIFTS
In Honor of Nadine Hur
Louise and Alan Zink
OVERTURE
$250 - $499
Gifts from Individuals
Stephen Bigley and Rebecca Roeder
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.
