ProMusica | Oct - Dec 2022 Program Book

Excellence

The COR Group proudly supports ProMusica Chamber Orchestra

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

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Coakley, CFP®

Senior Vice President–Wealth Management

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Senior Vice President–Wealth Management

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Music

Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 About

Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Handel's Messiah Biographies 24

Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Program 29 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Text of Messiah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Vadim Plays Brahms

Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Program 37 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

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Welcome to our

2022-23 season!

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

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

Thank you for sharing your evening with us.

Warmest

Wishes, Janet Chen Chief Executive Officer

Born in America and raised in Taiwan, Janet Chen has led an active and diverse career as a performing musician, arts administrator, and music educator. A classically trained flutist, Janet made the switch to arts management serving as ProMusica’s Operations and Education Manager and now as CEO. Under her tenure, ProMusica has doubled its annual operating budget — establishing new artistic programs and outreach collaborations, including its free outdoor Summer Series concerts; its “Play Us Forward” initiative putting instruments and music instruction into the hands of underserved students; and commissioning America’s living composers with 68 new works created to-date. In close partnership with the orchestra’s artistic leadership, the orchestra has achieved national and international acclaim as one of the top chamber orchestras of today.

Janet has been recognized as a YWCA Columbus Woman of Achievement and honored by Business First as one of the “Most Admired Executives in Central Ohio.” Most recently, she was named a 2021 honoree by the Women for Economic and Leadership Development (WELD). In 2018, she was one of ten members representing Columbus at the Young American Leaders Program at the Harvard Business School and has been featured in Columbus CEO Magazine and The Columbus Dispatch. Janet serves on the Boards of the Experience Columbus, Columbus Music Commission, and Ohio Citizens for the Arts, and is a member of the Columbus Cultural Leadership Consortium.

Janet holds both a bachelor's degree from the Oberlin Conservatory of Music, and a master's degree in flute performance from the University of Cincinnati CollegeConservatory of Music. Prior to joining ProMusica, she was a member of the Taipei Symphony Orchestra in Taipei, Taiwan, and spent two summers as a flute

the Interlochen Center for the Arts in Michigan.

promusicacolumbus.org

instructor at

Photo: Shellee Fisher Photography & Design for WELD

From the Tom Battenberg & Helen Liebman Chair Chief Executive Officer

Supporting ProMusica

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

keglerbrown.com

David Danzmayr

“Extremely good, concise, clear, incisive and expressive” writes The Herald of David Danzmayr, who is widely regarded as one of the most talented and exciting European conductors of his generation.

Following on a very successful tenure as Chief Conductor of the Zagreb Philharmonic Orchestra, Danzmayr was appointed Conductor Laureate, the youngest ever to hold this title in the orchestra´s history. Performing regularly to sold-out audiences in Zagreb´s Lisinski Hall and having been awarded the Zagreb City Award, Danzmayr and his orchestra also repeatedly toured to the Salzburg Festspielhaus, where they received standing ovations performing the prestigious New Year’s concert, and to the Wiener Musikverein.

Danzmayr serves as Music Director of the creative and unique ProMusica Chamber Orchestra, an orchestra comprised of musicians from all over the United States. Here, he regularly commissions worldrenowned composer/performers to appear in the first performances of their works alongside the great classics, a mission that extends the creative spirit of classical music and places the core repertoire in a modern context.

In February 2021, David was announced as the new Music Director of the Oregon Symphony. Previously David Danzmayr served as Music Director of the Illinois Philharmonic Orchestra in Chicago, where he was lauded regularly by both the Chicago Tribune and Chicago Classical Review for his performances. He was also the only conductor in the Chicago area, who programmed a piece of American music at every concert.

David has won prizes at some of the world´s most prestigious conducting competitions including a 2nd prize at the International Gustav Mahler Conducting Competition and prizes at the International Malko Conducting Competition. For his extraordinary success, he has been awarded the Bernhard Paumgartner Medal by the Internationale Stiftung Mozarteum.

Building these early successes into a far-reaching international career, Danzmayr has quickly become a sought-after guest conductor for orchestras around the globe, having worked in Europe with the Deutsche Kammerphilharmonie Bremen, Vienna Radio, Stuttgart Radio, City of Birmingham, Hamburg, Basel, Bamberg, Odense, and Iceland symphonies, as well as Essener Philharmoniker, Bruckner Orchester, Mozarteum Orchester, Swedish Chamber Orchestra and others.

In North America, his talents have propelled him to the finest of U.S. and Canadian orchestras in a very short time, where he has already conducted the likes of the Minnesota Orchestra, the Detroit, Houston, Oregon, Milwaukee, Utah, Vancouver, San Diego, Colorado, North Carolina, Pacific, New Jersey, and Indianapolis symphonies, the Los Angeles Chamber Orchestra and Grant Park Festival just to name a few.

Besides numerous reinvitations, he will make major debuts this season with the Baltimore Symphony, San Antonio Symphony, Virginia Symphony, the Rochester Philharmonic and the BBC Orchestra of Wales.

He has served as Assistant Conductor of the Royal Scottish National Orchestra, which he conducted in more than 70 concerts so far, performing in all the major Scottish concert halls and the prestigious, Orkney based, St Magnus Festival.

David Danzmayr received his musical training at the University Mozarteum in Salzburg where, after initially studying piano, he went on to study conducting in the class of Dennis Russell Davies.

Danzmayr was strongly influenced by Pierre Boulez and Claudio Abbado in his time as conducting stipendiate of the Gustav Mahler Youth Orchestra and by Leif Segerstam during his additional studies in the conducting class of the Sibelius Academy. Subsequently, he gained significant experience as assistant to Neeme Järvi, Stephane Deneve, Carlos Kalmar, Sir Andrew Davis, and Pierre Boulez, who entrusted Danzmayr with the preparatory rehearsals for his music.

“Clearly Danzmayr has what it takes.”

–John von Rhein, Chicago Tribune

Photo: Rick Buchanan Photography

The Elizabeth M. Ross Music Director

“The performance was an unmitigated triumph.”

Michael Tumelty, The Herald

Vadim Gluzman

Universally recognized among today’s top performing artists, Vadim Gluzman breathes new life and passion into the golden era of the 19th and 20th centuries‘ violin tradition. Gluzman’s wide repertoire embraces new music, and his performances are heard around the world through live broadcasts and a striking catalogue of awardwinning recordings exclusively for the BIS label.

The Israeli violinist appears with world’s leading orchestras and conductors, including Tugan Sokhiev with the Berlin Philharmonic, Boston Symphony and Orchestre de Paris; Neeme Järvi with Chicago Symphony and Orchestre de la Suisse Romande; Riccardo Chailly with the Royal Concertgebouw Orchestra and the Gewandhaus Orchestra, Santtu-Matias Rouvali with Gothenburg Symphony and Philharmonia Orchestra, as well as with the Cleveland Orchestra under the batons of Hannu Lintu and Michail Jurowski. He appears at Ravinia, Tanglewood, Grant Park, Colmar and the North Shore Chamber Music Festival, he has founded in 2011.

Highlights of the current season include performances with the Chicago Symphony, Orpheus Chamber Orchestra, NDR Elbphilharmonie Orchestra, Stuttgart Philharmonic, KBS and Singapore Symphony Orchestras, as well as concerts at Ravinia, Aspen, Blossom, Domaine Forget and Kronberg Festivals. Mr. Gluzman also continues to lead performances with the ProMusica Chamber Orchestra in Columbus, Ohio, where he serves as a Creative Partner and Principal Guest Artist.

Gluzman has premiered works by Sofia Gubaidulina, Moritz Eggert, Giya Kancheli, Elena Firsova, Pēteris Vasks, Michael Daugherty and Lera Auerbach. In the upcoming seasons he will introduce new violin concerto by ErkkiSven Tüür with Oregon Symphony, HR Frankfurt Radio Orchestra and Gothenburg Symphony.

Accolades for his extensive discography include the Diapason d’Or of the Year, Gramophone’s Editor’s Choice, Classica magazine’s Choc de Classica award, and Disc of the Month by The Strad, BBC Music Magazine and ClassicFM

Distinguished Artist in Residence at the Peabody Conservatory, where he teaches a selected group of young violinists, Gluzman performs on the legendary 1690 ‘ex-Leopold Auer’ Stradivari, on extended loan through the Stradivari Society of Chicago.

Photo: Marco Borggreve

Creative Partner & Principal Guest Artist

Important Information

Latecomers will not be seated until the first convenient pause in the program

Cell Phones, Pagers, and Signal Watches should be turned off prior to the performance Cameras and recording devices may not be used in the theatre without prior authorization from ProMusica .

Concessions are available inside the front doors to the left

An ATM machine is located in the Westin Columbus hotel lobby, adjacent to the theatre .

Restrooms are located at the top of the stairs, men’s on the left and women’s on the right . Handicap accessible restrooms are at the back of the main floor seating

Special Needs Services are available . Please ask an usher for assistance .

Assisted Listening Devices for sound amplification are available upon request at the concession area

ProMusica can provide the following services with a minimum of four weeks notice prior to the concert date:

• Concert guides in Braille or large print, an audio recording in program order, program notes and guest artists biographies .

• A sign language interpreter to interpret any vocal music that might be part of the program

TICKETS OR ADDITIONAL INFORMATION

Ticket Exchanges are only available to season subscribers

Returned tickets qualify as a tax-deductible gift to ProMusica but must be returned no later than the Thursday prior to the concert . Call ProMusica at 614 .464 .0066 or return tickets by mail .

Discounted Group Rates are available . Call 614 464 0066 for pricing and additional information

Student Tickets are available for $12 through the ProMusica office

To purchase tickets or for additional information, call 614.464.0066, visit www.promusicacolumbus.org, or stop by the ProMusica office from 9:00am-5:00pm, Monday-Friday, 620 East Broad Street, Suite 300

About the Orchestra

.

.

Led by Music Director David Danzmayr and Creative Partner

Vadim Gluzman, renowned violinist, the orchestra reaches a broad audience across the city—as the resident orchestra at the intimate Southern Theatre in downtown Columbus, and at notable venues beyond the I-270 outer belt In 2017, ProMusica made its Chicago debut performing for a sold-out crowd at the North Shore Chamber Music Festival .

We embrace an array of eras and influences—as masters of classical works, champions of bold new commissions and innovators of crossover collaborations, ProMusica’s performances are time-tested and modern, presented in ways that few orchestras can . We are widely recognized as

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

a national leader in promoting contemporary repertoire— with 68 commissions and more than 120 world and regional premieres by composers including Pulitzer Prize winners

Kevin Puts and Aaron Jay Kernis, Gabriela Montero, Michael Daugherty, Lera Auerbach, Conrad Tao and Joshua Roman

In addition, ProMusica has an active recording program with 13 CDs released to date . This is a testament to the world-class musicians on stage who thrive on artistic exploration and risk-taking—performing with the highest skill, emotion and humanity for our audiences

Deeply rooted in our city’s cultural fabric, ProMusica’s community outreach programs impact approximately 17,000 lives each season . Musicians travel to local schools, senior citizens attend live rehearsals, and underserved youth are given life-changing opportunities with the power of music Programs such as “Play Us Forward” offer an integrated, in-school curriculum, while family concerts at Columbus Metropolitan Library branches provide arts access in nurturing neighborhood environments . “Coda: Post-Concert Conversations” give the opportunity for a direct dialogue between audiences and guest artists— deepening engagement with the music and performers

Our annual Summer Music Series at Franklin Park Conservatory & Botanical Gardens is free and open to the public, demonstrating our unwavering commitment to offer accessible and transformative performances to all residents in our community .

ProMusica is a truly personal arts experience, one that’s full of surprise and delight and belonging ProMusica is more than an orchestra . It’s a movement . And we’re thrilled you’ve chosen to be a part of it tonight

ProMusica and our 37 musicians are redefining what it means to be a chamber orchestra

For four decades, ProMusica’s programs have honored the classics and celebrated the contemporary through world-class performances and creative approaches to musical storytelling

OUR MISSION

WISHING YOU A FANTASTIC SEASON, PROMUSICA!

Board of Trustees and Administration

OFFICERS

President Bob Redfield, Civic Leader

Past-President William Faust, Ologie Vice-President Lavea Brachman, Brookings Institution

Vice-President Matthew Fornshell, Ice Miller LLP Vice-President Susan Lubow, BakerHostetler Vice-President Todd Swatsler, Partner (retired), Jones Day

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

Secretary Jessica Mrowzinski, Worthington Industries

TRUSTEES

Maceo Bates, PNC Bank

Lynn Elliott, Columbus Window Cleaning

Adam Ferguson, Huntington Bank

Patricio Garavito, Cardinal Health

Joan Herbers, The Ohio State University

Laurie Hill, Civic Leader

+ Dave Humeston, CoverMyMeds Brent Jackson, Fifth Third Bank + Stephen Keyes, Abercrombie & Fitch Nichole Marshall, Pinterest + Bill McDonough

Elizabeth Moyo, Porter, Wright, Morris & Arthur LLP

John Pellegrino, ProMusica Musician Representative

Susan Quintenz, Civic Leader

Susan Restrepo, STRS Ohio

Jennifer Ross, ProMusica Musician Representative

Julie A. Rutter, American Electric Power

Lee Shackelford, Physician

Mark Sholl, Hilliard City Schools

Sergio Tostado, Jones Day

+ Executive Committee Member

EX-OFFICIO

Janet Chen, Chief Executive Officer

The Tom Battenberg & Helen Liebman Chair

David Danzmayr, Music Director

The Elizabeth M. Ross Music Director

Betty Giammar, Sustaining Board Representative

ADMINISTRATION

Janet Chen

Chief Executive Officer

The Tom Battenberg & Helen Liebman Chair

David Danzmayr Music Director

The Elizabeth M. Ross Music Director

Vadim Gluzman Creative Partner & Principal Guest Artist

Mayra Aburto Executive Assistant & Special Projects Manager

Yvette Boyer Finance Manager

Carolyn Jakubczak Ticketing & Patron Services Manager

Suzanne Jennison Orchestra & Operations Manager

Matthew Kurk Director of Advancement & Engagement

Brittany Lockman Director of Marketing Mariana Szalaj Music Librarian

The Regie & David Powell Chair

Lisa Wente Grants Consultant

TRUSTEES CIRCLE

Artie Isaac, Chair

Deborah Anderson

Tom Battenberg

Milt Baughman

Mark Corna

Peter Costanza

Patt DeRousie

James Elliott Beverley Ervine

Jim Ginter

Melissa Ingwersen

Suzanne Karpus

Donna Laidlaw

Boyce Lancaster Dr . Wayne Lawson

Mary Lazarus

Peggy Lazarus

Nancy Marzella

Dr . William Mitchell

Elizabeth Williams

Bernie Yenkin

Enriching the Columbus community

When superb professionals work in concert, amazing things happen.

Sustaining Board

Michael Jones Donna Laidlaw Boyce Lancaster Mary Lazarus Barry Liss Lisa Maggard Jennifer Markovich Deborah Norris Matthews Judy Michaelson Marianne Mottley

Larry Neal

Mary Oellermann

Thomas O’Reilly Dorothy Pritchard Susan Quintenz Deb Raita Bob Redfield Melissa Schmidt Laurie Schmidt-Moats Lee Shackelford

Sallie Sherman Beth Stafa* Stephanie Stephenson Elizabeth Williams Robert Wing Miriam Yenkin Mary Yerina

PRINCIPAL MEMBERS

Kim Bingle* Nancy Brownell Donna Cavell

Janet Chen

Marilee Chinnici-Zuercher Maggie Cunningham Lynn Elliott Elizabeth Turrell Farrar Marion Fisher

Barbara Goettler D . Jean Hester* Rose Hume Kathy Ludlum Andrew Maggard Michael Maggard Nancy Marzella

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

MUSICIAN MEMBERS

Ellen Bowden

Together, we build communities.

With gratitude to our partner Matthew Fornshell for his board service, Ice Miller is proud to support ProMusica Chamber Orchestra and its commitment to the Columbus community through the power of music. Our law firm supports more than 100 non-profit organizations throughout our region.

300+ lawyers in Columbus & other offices

Kian Soltani

Hailed by The Times as a “remarkable cellist” and described by Gramophone as “sheer perfection”, Kian Soltani’s playing is characterized by a depth of expression, sense of individuality and technical mastery, alongside a charismatic stage presence and ability to create an immediate emotional connection with his audience. He is now invited by the world’s leading orchestras, conductors and recital promoters, propelling him from rising star to one of the most talked about cellists performing today.

In 2021/22 Soltani has been invited to make debuts with orchestras including the Accademia Nazionale di Santa Cecilia, Czech Philharmonic, ORF Vienna Radio, Orchestra della Svizzera Italiana, WDR, Barcelona and Pittsburgh Symphony Orchestras. He will return to the London Philharmonic Orchestra, Vienna Symphony, Staatskapelle Berlin and Tonhalle Zurich amongst others. Furthermore, Soltani embarks on extensive orchestral touring including with the West-Eastern Divan Orchestra and Daniel Barenboim, St. Petersburg Philharmonic Orchestra and Yuri Temirkanov, ORF Vienna Radio Symphony Orchestra and Marin Alsop, and Royal Philharmonic Orchestra and Vasily Petrenko.

Recent orchestral highlights include the Vienna Philharmonic, London Philharmonic, Berlin Staatskapelle, NCPA Orchestra, Boston Symphony and Chicago Symphony Orchestras. Soltani was Artist-in-Residence at the Schleswig-Holstein Musik Festival in July 2021 in which he curated concerts including a Persian evening with the Shiraz Ensemble. Soltani commenced a multiyear residency with Junge Wilde at Konzerthaus Dortmund in Autumn 2018. As a recitalist, Soltani has recently performed at Carnegie Hall, Salzburg and Lucerne Festivals, Wigmore Hall and the Boulez Saal, where he was invited to curate an evening of cello music.

In 2017, Soltani signed an exclusive recording contract with Deutsche Grammophon and his first disc ‘Home’, comprising works for cello and piano by Schubert, Schumann and Reza Vali, was released to international acclaim in 2018, with Gramophone describing the recording as “sublime”. Soltani has since recorded discs including the Dvorak and Tchaikovsky

During the entirety of 2020, Soltani worked on his latest disc with Deutsche Grammophon which was released in October 2021. The disc, entitled ‘Cello Unlimited’, is a celebration of the cello and film music. Of the disc, Soltani wrote “Everything you will hear on this album is made only and exclusively with my cello and played only by me. The possibilities of this instrument are unlimited and infinite, and this album is a celebration of the instrument and of epic film music as well”.

Soltani attracted worldwide attention in April 2013 as winner of the International Paulo Cello Competition in Helsinki. In February 2017 Soltani won Germany’s celebrated Leonard Bernstein Award and in December 2017, he was awarded the prestigious Credit Suisse Young Artist Award.

Born in Bregenz, Austria, in 1992 to a family of Persian musicians, Soltani began playing the cello at age four and was only twelve when he joined Ivan Monighetti’s class at the Basel Music Academy. He was chosen as an Anne-Sophie Mutter Foundation scholarship holder in 2014 and completed his further studies as a member of the Young Soloist Programme at Germany’s Kronberg Academy. He received additional important musical training at the International Music Academy in Liechtenstein.

Kian Soltani plays “The London, ex Boccherini" Antonio Stradivari cello, kindly loaned to him by a generous sponsor through the Beares International Violin Society.

Piano Trios with Lahav Shani and Renaud Capucon, recorded live at Aix Easter Festival in 2018 released by Warner Classics and Dvořák’s Cello Concerto with the Staatskapelle Berlin and Daniel Barenboim in August 2020.

DAVID DANZMAYR THE ELIZABETH M. ROSS MUSIC DIRECTOR

VIOLINS

Katherine McLin, concertmaster

The Donald G. Dunn Chair

Rebecca Willie, assistant concertmaster

The Joan M. Herbers Chair

Jennifer Ross, principal second

The Brachman Smith Family Chair

**Amy Cave

The Randy & Marilyn Miller Chair Eric Kline

The Jim & Ida Copenhaver Ginter Chair

Heather Kufchak

The Deborah Raita Chair

Solomon Liang

The Laurie & Thomas W. Hill Chair

William Manley

The Fran Luckoff Chair

Victoria Moreira

The Dyann & E. Joel Wesp Chair Koko Watanabe

The Elizabeth Williams Chair

VIOLAS

**Brett Allen

The Keith F. & Katherine B. Dufrane Trust Chair

Stephen Goist

The Regie & David Powell Chair

Mary Harris

The Margaret & Jerome Cunningham Chair Michael Isaac Strauss

The Anne Powell Riley Chair

VIOLONCELLOS

Marc Moskovitz, principal

The Barbara Trueman Chair

**Joel Becktell

The Donna K. Laidlaw Chair

Nat Chaitkin

The William K. Laidlaw Chair

Cora Kuyvenhoven

The Bob & Mary Frances Restrepo Chair

BASSES

John Pellegrino, principal

The John F. Brownley Chair

Patrick Bilanchone*

The Kathryn D. Sullivan Chair

FLUTES

Nadine Hur, principal

The Dana Navin Schultz Chair

Anthony Trionfo+

The Miriam & Bernard Yenkin Chair

OBOES

Donna Conaty, principal

The Lee Shackelford Chair

Jessica Smithorn

The Artie & Alisa Isaac Chair

CLARINETS

Ilya Shterenberg, principal

The Beth Grimes-Flood & Tom Flood Chair

Jennifer Magistrelli

The Jack & Betsy Farrar Chair

BASSOONS

Ellen Connors, principal

The ML Chair

Rachael Young

The Carolyn Merry & Bob Redfield Chair

HORNS

Stephanie Blaha, principal

The Todd S. Swatsler Chair

Vacant

The Denise & Barry Blank Chair

TRUMPETS

Vacant, principal

The Susan L. Quintenz Chair

Timothy Leasure

The William & Wendy Faust Chair

TIMPANI & PERCUSSION

Renee Keller, principal

The Michael & Jody Croley Jones Chair

Rajesh Prasad

The Bob Redfield & Mary Yerina Chair

HARP

Jeanne Norton, principal

The Sustaining Board Chair

HARPSICHORD

Aya Hamada, principal

The ProMusica Board Chair in memory of Ida Copenhaver

ASSISTING MUSICIANS

Amy Guitry piccolo

Eric Louie contrabassoon

Mark Kleine clarinet Brian Mangrum horn Mark Grisez trumpet David Roode trombone Michael Charbel trombone Chad Arnow trombone Nicholas Fox percussion Matthews Hawkins percussion Scott Cuellar piano Shannon Thomas violin Shannon Lock violin Pei-An Chao cello Boris Astafiev bass

ORCHESTRA MANAGER

Suzanne Jennison

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

*On leave for the 2022-23 season

+One year appointment

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

OPENING WEEKEND: BEETHOVEN 5

Kian Soltani, cello David Danzmayr, conductor

Southern Theatre // Saturday, October 8 // 7:30 PM

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

KERNIS Musica Celestis

HAYDN

Cello Concerto in C Major

I. Moderato II. Adagio III. Allegro molto Kian Soltani, cello

VALI

BEETHOVEN

“The Girl from Shiraz” from Persian Folk Songs for Cello and Orchestra [Ohio Premiere]

I. The Girl from Shiraz II. Love Drunk Kian Soltani, cello

Intermission

Intermission lasts 15 minutes

Symphony No. 5 in C Minor, Op. 67

I. Allegro con brio II. Andante con moto III. Allegro IV. Allegro

The 44th Season Opening Weekend honors the ProMusica Sustaining Board, recipients of the 2022 Susan L. Quintenz Board Leadership Award.

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

OCTOBER: About the Music

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

which stunningly captures what we might imagine as the music of the spheres, gives way to a heartbreaking melody played by the concertmaster . Gradually the score develops increasing complexity, whether by way of polyphonic soloistic lines or increased activity produced by the larger ensemble, until returning to the celestial opening strains Throughout, Kernis’ mastery remains evident and his creativity undeniable .

Aaron Jay Kernis (b. 1960): Musica Celestis Instrumentation: Scored for string orchestra Duration: 12 minutes

Given his American success, it seems only fitting that Aaron J Kernis hails from Philadelphia, that American city of cities Trained early as a pianist and violinist, Kernis’ role as a composer began at the ripe age of 13, and by 16, he had already won the first of three BMI awards that he would earn as a student . His teachers read like a who’s who of American musical pioneers, among them John Adams (San Francisco Conservatory), Charles Wuorinen (Manhattan School), and Morton Subotnick (Yale University), composers whose diverse approaches to music no doubt equipped their prodigious student with numerous compositional options Ultimately Kernis gravitated towards an approachable, neo-romantic style that unapologetically offers accessible frameworks and engaging thematic material . This is not to say that Kernis panders to the masses, for his music, whether choral, orchestral or chamber, is always inventive and imaginative . Nor is it surprising that he has assembled a long list of champions, from violinist Joshua Bell to the New York Philharmonic . No less impressive is Kernis’ list of accolades, which includes a Pulitzer and awards from the Guggenheim Foundation and the National Endowment for the Arts .

Though the composer admits to no personal belief in angels, his design for his 1990 composition, Musica Celestis, which sprang from his String Quartet of the same year, was to create a medieval-inspired sound that captured the essence of angels praising God without end . This twelve-minute work for string orchestra unfolds as a set of variations framed by an introduction and coda The sound is rich and full-blooded, as one might expect from a body of string players . The heavenly introduction,

Franz Joseph Haydn (1732-1809): Concerto for Cello and Orchestra in C Major, Hob. VIIb/1

Instrumentation: Scored for cello solo, pairs of oboes and horns, and strings

Duration: 25 minutes

Given the popularity of Haydn’s C Major Cello Concerto, it’s easy to lose sight of the fact that the work was presumed lost until its rediscovery in 1961 . This accounts for the odd series of catalog numbers and letters above, following the abbreviation ‘Hob .’, or Hoboken, Haydn’s principal cataloger . It was then that Czech musicologist Oldřich Pulkert ran across the score in the Prague National Museum Since then, the work has become a staple of the cellist’s repertoire and a favorite of audiences worldwide

The C Major Concerto is believed to have been composed around 1765, when Haydn inked in the concerto’s opening theme in his draft catalog At the time, Haydn was serving the immensely wealthy Esterházy family as vice-Kapellmeister and would be promoted to full Kapellmeister in 1766 . Assuming this chronology is correct, the concerto would most likely have been composed for the orchestra’s principal cellist, a virtuoso by the name of Franz Weigl Unlike the orchestra you’ll hear tonight, the band at Haydn’s disposal was but a fraction of the size and, at the most, would have included only one additional cellist besides the soloist! Yet what the Esterháza orchestra lacked in numbers, it more than made up for in ability, for it included some of Europe’s foremost players within its ranks, Weigl among them .

The concerto is constructed of the traditional three movements, all built on a modified sonata form Following the orchestral tutti of the opening Moderato, the soloist enters with a proud C major chord—Haydn understood full

well that that key was the lowest note on the cello and hence would best flatter the instrument The movement’s second theme, which follows quickly thereafter, is of a more lyrical nature, and it is from these two ideas that Haydn spins out the rest of the movement, making full use of the instrument’s chordal and string crossing abilities The Adagio, a lovely, lyrical affair, is simple yet always elegant, while the closing Allegro molto, by contrast, gives us a clue about the cellistic abilities of Weigl, who evidently inspired Haydn to write what is arguably his most dazzling concerto movement . It is a virtuosic tour de force that brings this captivating concerto to a breathless conclusion .

FROM THE COMPOSER:

Reza Vali (b. 1952): “The Girl from Shiraz” from Persian Folk Songs for Cello and Orchestra

Instrumentation: Scored for cello solo, two flutes, oboe, clarinet, bass clarinet, bassoon, contrabassoon, pairs of horns, trumpets, and trombones, timpani, percussion, piano-celesta, harp, and strings

Duration: Approximately 4 minutes

The Girl from Shiraz is commissioned by the Pittsburgh Symphony Orchestra and is written for Kian Soltani and the PSO . The piece is based on two Persian folk songs, both originating from the city of Shiraz The sensual and the spiritual aspects of love intersect in the first song The Girl from Shiraz . The text of the original folk song is highly sensual describing the yearning of the lover for the beloved . The melody of this song, played by the solo cello, is accompanied by quotes from the Christmas carol Silent Night, Wagner’s Tristan and Isolde, as well as a quote from Messiaen’s Quartet for the End of Time .

The second song, Love Drunk is a well-known folk song from Shiraz The original text of the song describes the intoxicating joy when the lovers meet .

Ludwig van Beethoven (1770-1827): Symphony No. 5 in C Minor, Op. 67

Instrumentation: Scored for piccolo (fourth movement only), pairs of flutes and oboes, clarinets in B-flat and C, two bassoons, contrabassoon (fourth movement only), two horns in E-flat and C, two trumpets, three trombones (alto, tenor, and bass, fourth movement only), timpani and strings

Duration: 31 minutes

On December 22, 1808, those present within the walls of Vienna’s Theater an der Wien experienced the premiere of what would eventually become the world’s most recognizable piece of music, classical or otherwise . The program, which played out in a bitter cold theater, featured Beethoven conducting his 5th and 6th Symphonies, music from his Mass in C and a vocal aria, and his 4th Piano Concerto, which Beethoven conducted from the keyboard . Then, for good measure, he tacked on his Choral Fantasy, a twenty-minute work scored, curiously enough, for chorus, orchestra and piano soloist (again, Beethoven) . The concert got underway at 6:30 in the evening and continued for the next four hours, but sadly, the quality of the orchestra suffered on account of inadequate rehearsal time . Matters were not helped by the players, largely amateurs and dilettantes, who on the whole had little patience for Beethoven’s challenging music . For his part, Beethoven, ever uncompromising, actually stopped the orchestra during the performance, shouted “Noch einmal!”—“Once again!” and made the band repeat a poorly executed passage! In sum, the evening was hardly what could be deemed a triumph . Yet despite its inauspicious start, the monumental Fifth would soon become embraced as a masterwork and exert a profound influence on the composers of the Romantic era

Four years before its premiere, Beethoven had begun scribbling out ideas for a “Sinfonia,” entries that appear on lower portions of leaves in the so-called Eroica Sketchbook, a sketchbook whose pages are largely filled with drafts for his opera, Leonore. Thus, while in the act of composing his only opera, the composer also began planning something else entirely—an abstract symphonic work to be crafted in the dramatic key of C minor . Curiously, however, the opening four notes of the C minor Symphony—which were to become the most recognizable aspect of the work—were not what Beethoven initially committed to paper . Rather, the earliest sketches actually reveal him beginning somewhere in the middle, with material for the third movement Only then did he turn to the start, drafting out abbreviated ideas for the first movement’s exposition . Thus, rather than work through the composition from beginning to end, Beethoven made sure to first get several distinct ideas down on paper before casting the entire symphony Yet because much of Beethoven’s early work on the symphony is missing,

we cannot be certain how the rest of the compositional process unfolded, or even when It appears the composer put at least some of the music aside and returned to the first movement in 1806, although much of the composition was likely composed during the following year . We do know that the autograph was finished around March of 1808, months ahead of its December premiere

While the 5th is dwarfed in size by the titanic 3rd Symphony, the “Eroica” of 1803, Beethoven’s Op . 67 packs a powerful punch, no doubt on account of its dark and dramatic C minor tonality . Then, there is that powerful opening gesture, a four-note motif that is as much rhythm as pitch, if not more so . This attention-grabbing motif will sweep through much of the composition, surfacing at critical moments . As for the symphony’s larger architecture, while its fourmovement framework betrays its classical Viennese origins, that is where all connection with tradition comes to an end .

Indeed, this symphony is far more than the sum of its parts Whether or not we believe Anton Schindler, Beethoven’s factotum and reliably unreliable early biographer, who testified that the composer equated his opening idea with fate knocking at the door, the Fifth certainly operates on a level far beyond what was typically associated with symphonic music Thus, rather than simply compose another symphony, Beethoven likely had some sort of extra-musical drama in mind, perhaps the movement from dark to light or the triumph of good over evil, as reflected in the score’s shift from C minor to C major Whatever the case, in a mere 30 minutes, we are taken on a journey of a lifetime . Buckle up!

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

© Marc Moskovitz www.marcmoskovitz.com

About the Program Notes Author Marc Moskovitz

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Yulia Van Doren soprano Julie Miller mezzo-soprano

A dedicated interpreter of repertoire off the beaten path, RussianAmerican 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, has the distinction of being the only singer awarded top prizes in all US Bach vocal competitions, and is featured on two Grammy-nominated opera recordings with the Boston Early Music Festival

Other career highlights include 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; Monteverdi concerts in Venice with Sir John Eliot Gardiner; Scarlatti’s rarely-performed opera Tigrane at Opera de Nice; Handel’s Acis and Galatea with the Radio Kamer Filharmonie at Amsterdam’s Concertgebouw, and with Akademie für Alte Musik Berlin in Macau, marking the first Handel opera performance in the Chinese region; a variety of 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 . Ms Van Doren made her European debut singing the historicallynotable Hungarian premiere of Barber's Knoxville: Summer of 1915 with the Hungarian Radio Symphony Orchestra .

Passionate about cross-arts collaboration, she has been a frequent soprano soloist for renowned choreographer Mark Morris since 2007, singing many national and international performances with his company including Dido and Aeneas, Acis and Galatea, and Morris’ iconic L’Allegro; and in 2019 Ms . Van Doren became the first opera singer to perform at the Essaoira World Music Festival, one of Africa’s largest music festivals, in a guest appearance with Moroccan Gnawa superstar Hassan Hakmoun

Born in Moscow, Ms . Van Doren was raised in the United States in a music-filled household in which she and her seven younger siblings were taught by their Russian mezzo-soprano mother and American jazz pianist father After spending her high school years working full-time in professional musical theater, she switched focus to classical singing and attended New England Conservatory Her graduate degree from Bard College Conservatory was generously supported by a Soros Fellowship, and postgraduate study in Paris by a Beebe Fellowship . She is an Astral Artist Laureate

Hailed for the “arresting color” (Cincinnati Enquirer) of her voice, Julie Miller has appeared as a soloist with orchestras and opera companies throughout the USA As a member of the Patrick G and Shirley W Ryan Opera Center at Lyric Opera of Chicago she appeared on the stage of the Lyric Opera of Chicago as Emilia in Otello, Annina (La Traviata), Ida (Die Fledermaus) and Krystina (The Passenger) Other notable assignments with the company include Baroness Nica in Charlie Parker's Yardbird plus understudies of Octavian in Der Rosenkavalier and Waltraute in Die Walküre She recently performed the title role in Handel’s Ariodante which Chicago Classical Review described as an “admirable and professional performance" and the Chicago Tribune called "deeply musical "

Elsewhere, she has appeared with Madison Opera and in London with Hackney Empire as Baroness Nica, Vero Beach Opera as Orlofsky in Die Fledermaus, Sugar Creek Opera as Ma Joad in The Grapes of Wrath, Opera Idaho as Charlotte in Werther and Sacramento Philharmonic and Opera as Maddalena in Rigoletto . Other notable roles she has performed include Jo (Little Women), Annio (La clemenza di Tito), Stephano (Roméo et Juliette), Donna Elvira (Don Giovanni), Ottavia (L’incoronazione di Poppea) and the Mother (Amahl and the Night Visitors) .

She has appeared on the concert stage as soloist in Bach’s Magnificat and Cantata No. 6, Handel's Messiah, Durufle’s Requiem, Beethoven’s Symphony No. 9, and Mozart’s Mass in C minor and Requiem Orchestras with whom she has appeared include the Kalamazoo Symphony Orchestra, Cincinnati Symphony Orchestra, Grant Park Music Festival, Illinois Symphony Orchestra and Oregon Mozart Players She was a featured soloist at Carnegie Hall in the world premiere of Ryan Carter's Doot, the Ravinia Festival in Bernstein's Songfest, the Elgin Symphony Orchestra in Mahler's Symphony No. 2, and Apollo Symphony for Handel’s Messiah A regular guest of the Madison Symphony Orchestra, she has appeared with them as Mezzo-Soprano Soloist in Janacek’s Glagolitic Mass and Mahler’s Symphony No. 8

Ms . Miller is the recipient of the Jerome and Elaine Nerenberg Foundation Scholarship and the Rose McGilvray Grundman Award (American Opera Society of Chicago), the Richard F. Gold Career Grant (Shoshana Foundation), and the Edith Newfield Scholarship Award (Musicians Club of Women) She earned her Bachelor’s Degree from CSU Sacramento and her Master’s Degree in Vocal Arts at the Bard College Conservatory of Music . She also participated in the Georg Solti Accademia Bel Canto in Castiglione della Pescaia, Tuscany

Steven Soph tenor Kevin Deas bass-baritone

A “superb vocal soloist” (The Washington Post) with “impressive clarity and color” (The New York Times), tenor Steven Soph performs concert repertoire spanning the Renaissance to modern day .

In 2022, Steven debuts with the Seattle, Fort Worth, and Aiken Symphony Orchestras in Handel’s Messiah, with the South Dakota Symphony Orchestra in Bach’s St. Matthew Passion, in the Baldwin Wallace University Bach Festival as Evangelist in Bach’s Christmas Oratorio, and as a member of Vancouver, B .C . ’s The Leonids and Louisville’s Artefact Steven returns to the Charlotte Bach Festival as Evangelist in Bach’s St. John Passion, to Baltimore Choral Arts to perform and record Anthony Blake Clark’s completion of Mozart’s Requiem, to Providence’s Ensemble Altera for their debut recording, to the Oregon Bach Festival covering St. John and St. Matthew Passion Evangelists, and to the Santa Fe Desert Chorale’s Summer Festival

Steven’s recording credits include solos on GRAMMY®-nominated “The Singing Guitar” with Austin’s Conspirare, Académie du Disque Lyrique Orphées d’Or-winning “Guillaume Du Fay: The Tenor Masses” with Boston’s Cut Circle, tenor vocals on Maná’s Latin GRAMMY® Award-winning Best Pop/Rock Album “Cama Incendiada,” and Jory Vinikour’s album of duet cantatas by Agostino Steffani

Steven holds degrees from the University of North Texas and Yale School of Music where he studied at Yale’s Institute of Sacred Music with renowned tenor James Taylor . Steven attended the American Bach Soloists Academy in 2011, was a 2014 Carmel Bach Festival Adams Fellow, and a 2016 Oregon Bach Festival Young Artist .

Kevin Deas has gained international renown as one of America’s leading bass-baritones . He is perhaps most acclaimed for his signature portrayal of the title role in Porgy and Bess, having performed it with the New York Philharmonic, Philadelphia Orchestra, National Symphony, Saint Paul Chamber Orchestra, Pacific Symphony, as well as the most illustrious orchestras on the North American continent, and at the Ravinia, Vail and Saratoga festivals . His 2021-22 season highlights included performances of Mozart’s Requiem with the Florida Orchestra, Handel’s Messiah with the National Cathedral, Boston Baroque, and the New York Philharmonic Other notable performances in the season included Nathaniel Dett’s The Ordering of Moses with the Bach Festival Society of Winter Park, Beethoven’s Symphony No. 9 with the Las Vegas Philharmonic and the Phoenix Symphony, Bach’s St. Matthew Passion with the Portland Symphony Orchestra, and performing the role of Porgy in Gershwin’s Porgy and Bess with the Des Moines Metro Opera, as well as the role of Dick Hallorann in Paul Moravec’s critically acclaimed opera The Shining with the Opera Colorado

LancasterChorale

Dr. Stephen Caracciolo, Artistic Director

Celebrated as central Ohio’s premier all-professional chamber choir, LancasterChorale has established its role as a vital force in choral music by performing challenging repertoire drawn from the rich treasury of the past, commissioning new works to inspire the American public to more fully understand its present, and supporting educational programming with young singers to promote the future of the choral arts .

Engaging the region’s leading professional vocal artists, LancasterChorale garners high praise for its beauty of tone, musical integrity, remarkable blend, and exceptional commitment to elegant text phrasing . Under the direction of nationally recognized choral composer Stephen Caracciolo, the ensemble performs an astonishingly wide range of choral literature including plainchant, Renaissance and Baroque motets, German-Romantic part songs, French chansons, the sacred literature of the English and Russian churches, opera choruses, carols of every variety, American folk songs and spirituals, and works by living composers .

LancasterChorale performs in cities throughout Ohio and appears regularly with Columbus' ProMusica Chamber Orchestra

SOPRANO

Suzy Biehl

Deborah Brennan

Karen Cook

Melissa Lawson

Elizabeth McConnaughey

Kelly Myers

Kylie Ogg

Cynthia Perotti

Juliana Rauch

Ronda Rom

ALTO / COUNTERTENOR

Stephen Barker

Jamie Blair

Heather Chute

Emily Dunaj

Elizabeth Festi

Beth Pittman

Mary Rizzardi

Gretchen Rutz

Tim Sarsany

TENOR

Brady Brennan

Dustin Hill

Dustin Jarred

Andrew LeVan

Justin Meyer

Bradley Naylor

Nathan Ogg

Matthew Pittman

BASS

Matthew Bester

Jarrod Coil

Joshua Cook

Billy Edwards

Jesse Heetland

John Schlabach

Will Schott

Sam Witmer

Dylan Woodring

DAVID DANZMAYR

THE ELIZABETH M. ROSS MUSIC DIRECTOR

VIOLINS

Katherine McLin, concertmaster

The Donald G. Dunn Chair

Rebecca Willie, assistant concertmaster

The Joan M. Herbers Chair

Jennifer Ross, principal second

The Brachman Smith Family Chair

**Amy Cave

The Randy & Marilyn Miller Chair

Eric Kline

The Jim & Ida Copenhaver Ginter Chair

Heather Kufchak

The Deborah Raita Chair

Solomon Liang

The Laurie & Thomas W. Hill Chair

William Manley

The Fran Luckoff Chair

Victoria Moreira

The Dyann & E. Joel Wesp Chair

Koko Watanabe

The Elizabeth Williams Chair

VIOLAS

**Brett Allen

The Keith F. & Katherine B. Dufrane Trust Chair

Stephen Goist

The Regie & David Powell Chair

Mary Harris

The Margaret & Jerome Cunningham Chair

Michael Isaac Strauss

The Anne Powell Riley Chair

VIOLONCELLOS

Marc Moskovitz, principal

The Barbara Trueman Chair

**Joel Becktell

The Donna K. Laidlaw Chair

Nat Chaitkin

The William K. Laidlaw Chair

Cora Kuyvenhoven

The Bob & Mary Frances Restrepo Chair

BASSES

John Pellegrino, principal

The John F. Brownley Chair

Patrick Bilanchone*

The Kathryn D. Sullivan Chair

FLUTES

Nadine Hur, principal

The Dana Navin Schultz Chair

Anthony Trionfo+

The Miriam & Bernard Yenkin Chair

OBOES

Donna Conaty, principal

The Lee Shackelford Chair

Jessica Smithorn

The Artie & Alisa Isaac Chair

CLARINETS

Ilya Shterenberg, principal

The Beth Grimes-Flood & Tom Flood Chair

Jennifer Magistrelli

The Jack & Betsy Farrar Chair

BASSOONS

Ellen Connors, principal

The ML Chair

Rachael Young

The Carolyn Merry & Bob Redfield Chair

HORNS

Stephanie Blaha, principal

The Todd S. Swatsler Chair

Vacant

The Denise & Barry Blank Chair

TRUMPETS

Vacant, principal

The Susan L. Quintenz Chair

Timothy Leasure

The William & Wendy Faust Chair

TIMPANI & PERCUSSION

Renee Keller, principal

The Michael & Jody Croley Jones Chair

Rajesh Prasad

The Bob Redfield & Mary Yerina Chair

HARP

Jeanne Norton, principal The Sustaining Board Chair

HARPSICHORD

Aya Hamada, principal

The ProMusica Board Chair in memory of Ida Copenhaver

ASSISTING MUSICIANS

Mark Grisez trumpet Ryan Kilgore timpani Shannon Lock violin Yael Senamaud viola Jena Huebner bass

ORCHESTRA MANAGER

Suzanne Jennison

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

*On leave for the 2022-23 season

+One year appointment

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

HANDEL’S MESSIAH

Yulia Van Doren, soprano

Julie Miller, mezzo-soprano

Steven Soph, tenor*

Kevin Deas, bass-baritone

LancasterChorale

David Danzmayr, conductor

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

Southern Theatre // Sunday, November 13 // 7:00 PM

HANDEL Messiah

Part the First Part the Second Part the Third

Intermission Intermission lasts 15 minutes

Stay for Coda: Post-Concert Conversation . Meet Yulia Van Doren, Julie Miller, Steven Soph, Kevin Deas, and David Danzmayr and learn more about tonight’s program

*Steven Soph is replacing Daniel McGrew as tonight’s tenor soloist

NOVEMBER: About the Music

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

to serve the Elector of Hanover (later, King George I of England, for whom Handel would compose his soon-to-be-famous Water Music) . At one point during Handel’s Hanover tenure, he took a break to travel to England and never returned . Embraced in London as one of their own, Handel eventually became a naturalized English citizen .

George Frideric Handel (1685-1759): Messiah, HWV 56

Instrumentation: Scored for soprano, alto, tenor, bass, chorus, strings, oboes, bassoon, trumpets and harpsichord .

Duration: Approximately 2 hours

On April 13, 1743, in Dublin’s Musick Hall, Handel’s Messiah was heard for the first time, as an Easter offering, before an audience of 700 . In order to accommodate the most listeners possible, ladies were requested to leave their fashionable hoop skirts at home . Some Dubliners turned out on account of the contralto, Susannah Cibber, who was then in the throes of a scandalous divorce, but the majority were naturally on hand because of Handel himself, arguably the most famous composer alive . And because Handel’s music had not fared so well before London audiences the previous season, the composer decided that his latest oratorio would premiere elsewhere, before bringing it home to England . Dublin, a prosperous, fast-growing city, proved the perfect testing ground for Handel’s latest offering . Messiah was heard in London soon enough, although the score required far more time before becoming an established Christmas-time staple

The son of a surgeon, George Frideric Handel was born and trained in Halle, Germany, where he demonstrated an unusual talent for music at an early age . Although his father initially intended for his son to pursue a career in law, it soon became apparent that his talents lie elsewhere . Eventually, Handel left for Italy, where he absorbed the popular Italian musical style en vogue throughout the continent . He then returned to Germany

Handel not only gained great fame but wealth during his lifetime yet managed to keep his private life private . We know that he never married but because he left almost nothing in the way of letters, little that happened behind the scenes has come down to us . He was clearly generous, however, and in his will left money to various individuals and charities and his house in Brook Street to his manservant . (It is worth noting that Handel was not the only musician to own property in this building—centuries later, Jimi Hendrix occupied the building’s upper floors, and the entire structure has since been transformed into a museum honoring the geniuses who once lived here) .

Though Handel composed in most every genre of the day, it was as a composer of Italian opera that he established an international reputation . Though these played to great success in London for years, in time, English audiences tired of the genre, both on account of not understanding Italian and a general squeamishness with the concept of castrato singers, despite their superstar status and longstanding tradition . With his finger on London’s musical pulse, Handel tried out another genre on his audiences: oratorio, music based on Biblical themes and composed in the vernacular, requiring neither sets nor stagecraft . His first two attempts, Esther and Deborah, proved so financially successful that he abandoned opera altogether, despite transferring some of opera’s magic, such as the da capo aria, into this less onerous musical type . Then, in the summer of 1741, Handel traveled to Dublin for a series of charity concerts, where he became convinced of the city’s musical merits Not long thereafter, Charles Jennens, an English landowner and patron, crafted a libretto based on the Passion story and asked Handel

to consider setting it to music The composer threw himself entirely into the task, writing night and day . Incredibly enough, Handel dispatched the entire score within about four weeks, and the rest is, as they say, history .

Gallons upon gallons of ink have been spilled analyzing, deconstructing, and reflecting upon Handel’s efforts, so we will simply point out a few features in this towering composition . First, although the original score does not specify precisely which or how many instruments were intended—in subsequent performances Handel himself adjusted matters depending on the circumstances—Handel most certainly envisioned a handful of strings, oboes, a harpsichord and, for good measure, trumpets, whose sparse usage only magnifies their effect . The oratorio opens with a Sinfony, an orchestral overture in the French style The crisp, short-long rhythm at its outset looks to the music of Jean Baptiste Lully, who consciously “invented” this stately gesture as a means of flattering his employer, Louis XIV .

Handel’s Messiah now unfolds over the course of three large sections—in contrast with Handel’s other oratorios, which are based on tight biblical themes and dramatic plots, Messiah is far more loosely put together—moving from the prophesied birth of Jesus Christ to his noble sacrifice and finally his resurrection and the redemption of mankind . This Passion is told through several voices—vocal soloists—which alternate with the sublime power of the chorus . Handel’s genius is reflected in any number of ways, including his imaginative and fitting musical imagery, which brilliantly captures the essence and poignancy of Jennens’ libretto . In the very first aria, “Comfort Ye, my people,” for example, listen for the gentle accompaniment and the soothing repetition of the word “Comfort .” The 11th aria, “The people walked in darkness,” features a bass line that plods along in unison with the bass soloist; the notes move unevenly here and there which, along with the irregular

phrasing, suggests tripping or staggering Also, note how deeply the word “darkness” is sung, in contrast to “light,” which is both held and sits atop the soloist’s range Of course, little explanation is required to appreciate Handel’s spirited depictions of joy, whether in “Every valley” (note here how Handel sets the words “crooked” and “exalted”) or the virtuosic coloratura soprano writing in “Rejoice .” And finally, whether or not King George II actually stood in homage to the ‘Hallelujah Chorus,’ doing so has become something of a tradition, and for good reason—one can hardly imagine a more glorious conclusion to such a breathtaking work . Little wonder, then, that this chorus became something of a hit already in the composer’s lifetime . More than two and a half centuries later, Handel’s majestic conclusion still has the power to make one’s hair stand on end .

© Marc Moskovitz www.marcmoskovitz.com

TEXT OF MESSIAH

Part the First

1. SINFONY (OVERTURE)

2. Accompanied Recitative (tenor)

Comfort ye, comfort ye my people, saith your God Speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplished, that her iniquity is pardoned The voice of him that crieth in the wilderness; prepare ye the way of the Lord; make straight in the desert a highway for our God . (Isaiah 40:1-3)

3. Aria (Tenor)

Ev'ry valley shall be exalted, and ev'ry moutain and hill made low; the crooked straight and the rough places plain . (Isaiah 40:4)

4.

Chorus

And the glory of the Lord shall be revealed, and all flesh shall see it together, for the mouth of the Lord hath spoken it (Isaiah 40:5)

7.

Chorus

And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness (Malachi 3:3)

8. Recitative (Mezzo-soprano)

Behold, a virgin shall conceive and bear a son, and shall call His name Emmanuel, God with us (Isaiah 7: 14; Matthew 1: 23)

9. Aria (Mezzo-soprano) and Chorus

O thou that tellest good tiding to Zion, get thee up into the high mountain . O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah; Behold your God! Arise, shine, for thy light is come, and the glory of the Lord is risen upon thee . (Isaiah 40:9, 60:1)

10. Accompanied Recitative (Bass)

For behold, darkness shall cover the earth, and gross darkness the people; but the Lord shall arise upon thee, and His glory shall be seen upon thee . And the Gentiles shall come to thy light, and kings to the brightness of thy rising . (Isaiah 60: 2-3)

11. Aria (Bass)

The people that walked in darkness have seen a great light; and they that dwell in the land of the shadow of death, upon them hath the light shined (Isaiah 9:2)

12. Chorus

For unto us a child is born, unto us a son is given, and the government shall be upon His shoulder; and His name shall be called Wonderful, Counselor, The Mighty God, The Everlasting Father, The Prince of Peace (Isaiah 9:6)

13. Pifa (Pastoral Symphony)

17. Chorus

Glory to God in the highest, and peace on earth, good will towards men (Luke 2:14)

18. Aria (Soprano)

Rejoice greatly, O daughter of Zion! Shout, O daughter of Jerusalem! Behold, thy King com’th unto thee; He is the righteous Saviour, and He shall speak peace unto the heathen (Zecharaiah 9:9-10)

19. Recitative (Mezzo-soprano)

Then shall the eyes of the blind be open’d, and the ears of the deaf unstopped . Then shall the lame man leap as an hart, and the tongue of the dumb shall sing . (Isaiah 35: 5-6)

20. Aria (Soprano and Mezzo-soprano)

He shall feed His flock like a shepherd; and He shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that are with young Come unto Him, all ye that labor, come unto Him that are heavy laden, and He will give you rest Take his yoke upon you, and learn of Him, for He is meek and lowly of heart, and ye shall find rest unto your souls (Isaiah 40: 11; Matthew 11: 28-29)

21. Chorus

His yoke is easy, and His burthen is light (Matthew 11:30)

Part the Second

22. Chorus

Behold the Lamb of God, that taketh away the sin of the world . (John 1:29)

24. Chorus

Surely He hath borne our griefs, and carried our sorrows! He was wounded for our transgressions; He was bruised for our inequities; the chastisement of our peace was upon Him (Isaiah 53:4-5)

25. Chorus

And with His stripes we are healed . (Isaiah 53:5)

26. Chorus

All we like sheep have gone astray; we have turned ev’ry one to his own way . And the Lord hath laid on Him the iniquity of us all (Isaiah 53:6)

27. Accompanied Recitative (Tenor)

All they that see Him laugh Him to scorn; they shoot out their lips, and shake their heads, saying: (Psalm 22:7)

28. Chorus

He trusted in God that He would deliver Him; let Him deliver Him, if He delight in Him (Psalm 22:8)

29. Accompanied Recitative (Tenor)

Thy rebuke hath broken His heart: He is full of heaviness . He looked for some to have pity on Him, but there was no man, neither found He any to comfort him . (Psalm 69:20)

30. Arioso (Tenor)

Behold, and see if there be any sorrow like unto His sorrow . (Lamentations 1 12)

31. Accompanied Recitative (Tenor)

He was cut off out of the land of the living: for the transgressions of thy people was He stricken . (Isaiah 53:8)

32. Aria (Tenor)

But Thou didst not leave His soul in hell; nor didst Thou suffer Thy Holy One to see corruption . (Psalm 16:10)

33. Chorus

Lift up your heads, O ye gates, and be ye lift up, ye everlasting doors, and the King of Glory shall come in . Who is the King of Glory? The Lord of hosts, he is the King of glory (Psalm 24:7-10)

34. Recitative (Tenor)

Unto which of the angels said He at any time: "Thou art My Son, this day have I begotten Thee?" (Hebrews 1:5)

40. Aria (Bass)

Why do the nations so furiously rage together, and why do the people imagine a vain thing? The kings of the earth rise up, and the rulers take counsel together against the Lord, and against His anointed . (Psalm 2:1-2)

41. Chorus

Let us break their bonds asunder, and cast away their yokes from us (Psalm 2:3)

42. Recitative (Tenor)

He that dwelleth in Heav'n shall laugh them to scorn; the Lord shall have them in derision (Psalm 2:4)

43.

Aria (Tenor)

Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter's vessel (Psalm 2:9)

44. Chorus

Hallelujah! For the Lord God Omnipotent reigneth . The kingdom of this world is become the kingdom of our Lord, and of His Christ; and He shall reign for ever and ever . King of Kings, and Lord of Lords, Hallelujah! (Revelation 19:6, 11:15, 19:16)

Part the Third

45. Aria (Soprano)

I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth And though worms destroy this body, yet in my flesh shall I see God . For now is Christ risen from the dead, the first fruits of them that sleep . (Job 19: 25-26, I Corinthians 15:20)

46. Chorus

Since by man came death, by man also the resurrection of the dead . For as in Adam all die, even so in Christ shall all be made alive . (1 Corinthians 15:21,22)

47. Accompanied Recitative (Bass)

Behold, I tell you a mystery; we shall not all sleep, but we shall all be chang’d in a moment, in the twinkling of an eye, at the last trumpet (I Corinthians 15: 51-52)

48. Aria (Bass)

The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be chang’d (I Corinthians 15: 52-53)

53. Chorus

Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honor, and glory, and blessing . Blessing and honor, glory and power, be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever Amen (Revelation 5:12, 9:13)

I usually describe myself as a ceramic artist because the majority of my work is based in the material of clay. However, it might be better to describe myself as a maker. My work ranges from functional pottery to weird sculptures, temporary installations and permanent public art, tile and sometimes brick work. The people, the arts community in any city is shaped by the people, and we’re good people. As my wife Jen put it once, Columbus is a big city you can wrap your arms around.

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

Supporting and advancing the arts and cultural fabric of Columbus.

GCAC.org

Design: Formation Studio

DAVID DANZMAYR THE ELIZABETH M. ROSS MUSIC DIRECTOR

VIOLINS

Katherine McLin, concertmaster

The Donald G. Dunn Chair

Rebecca Willie, assistant concertmaster

The Joan M. Herbers Chair

Jennifer Ross, principal second

The Brachman Smith Family Chair

**Amy Cave

The Randy & Marilyn Miller Chair Eric Kline

The Jim & Ida Copenhaver Ginter Chair

Heather Kufchak

The Deborah Raita Chair

Solomon Liang

The Laurie & Thomas W. Hill Chair

William Manley

The Fran Luckoff Chair

Victoria Moreira

The Dyann & E. Joel Wesp Chair Koko Watanabe

The Elizabeth Williams Chair

VIOLAS

**Brett Allen

The Keith F. & Katherine B. Dufrane Trust Chair

Stephen Goist

The Regie & David Powell Chair

Mary Harris

The Margaret & Jerome Cunningham Chair Michael Isaac Strauss

The Anne Powell Riley Chair

VIOLONCELLOS

Marc Moskovitz, principal

The Barbara Trueman Chair

**Joel Becktell

The Donna K. Laidlaw Chair

Nat Chaitkin

The William K. Laidlaw Chair

Cora Kuyvenhoven

The Bob & Mary Frances Restrepo Chair

BASSES

John Pellegrino, principal

The John F. Brownley Chair

Patrick Bilanchone*

The Kathryn D. Sullivan Chair

FLUTES

Nadine Hur, principal

The Dana Navin Schultz Chair

Anthony Trionfo+

The Miriam & Bernard Yenkin Chair

OBOES

Donna Conaty, principal

The Lee Shackelford Chair

Jessica Smithorn

The Artie & Alisa Isaac Chair

CLARINETS

Ilya Shterenberg, principal

The Beth Grimes-Flood & Tom Flood Chair

Jennifer Magistrelli

The Jack & Betsy Farrar Chair

BASSOONS

Ellen Connors, principal

The ML Chair

Rachael Young

The Carolyn Merry & Bob Redfield Chair

HORNS

Stephanie Blaha, principal

The Todd S. Swatsler Chair

Vacant

The Denise & Barry Blank Chair

TRUMPETS

Vacant, principal

The Susan L. Quintenz Chair

Timothy Leasure

The William & Wendy Faust Chair

TIMPANI

& PERCUSSION

Renee Keller, principal

The Michael & Jody Croley Jones Chair

Rajesh Prasad

The Bob Redfield & Mary Yerina Chair

HARP

Jeanne Norton, principal

The Sustaining Board Chair

HARPSICHORD

Aya Hamada, principal

The ProMusica Board Chair in memory of Ida Copenhaver

ASSISTING MUSICIANS

Evan Lynch clarinet Stephen Laifer horn

David Roode trombone Michael Charbel trombone Ryan Kilgore percussion Matthew Hawkins percussion Shannon Thomas violin Marcin Arendt violin

ORCHESTRA MANAGER

Suzanne Jennison

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

*On leave for the 2022-23 season +One year appointment

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

VADIM PLAYS BRAHMS

Vadim Gluzman, violin & creative partner David Danzmayr, conductor

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

Southern Theatre // Sunday, December 11 // 7:00 PM

CHIN subito con forza

BRAHMS

Violin Concerto in D Major, Op. 77

I. Allegro non troppo

II. Adagio

III. Allegro giocoso, ma non troppo vivace Vadim Gluzman, violin

Intermission Intermission lasts 15 minutes

MACMILLAN One

MENDELSSOHN

Symphony No. 5, Op. 107, “Reformation”

I. Andante - Allegro con fuoco

II. Allegro vivace

III. Andante

IV. Andante con moto

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

DECEMBER: About the Music

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

Schumann and his long-time friend Joseph Joachim, and often submitted his scores to both for their criticism or approval

We have Brahms’ tight-knit relationship with Joseph Joachim, among the era’s greatest violinists, to thank for one of the composer’s most beloved scores . During the course of the concerto’s composition, Brahms sent Joachim various solo passages to ensure that the violin writing was idiomatic (or at the very least playable!) .

Unsuk Chin (b. 1961): subito con forza

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

Duration: Approximately 5 minutes

South Korean Unsuk Chin packs about as much power into her subito con forza (suddenly with force) as seems possible . “What particularly appeals to me are the enormous contrasts: from volcanic eruptions to extreme serenity ” There is plenty of both in this tight five-minute work that draws on vivid colors and the intensity of Stravinsky (think Rite of Spring), Ligeti (among her teachers and one of the most important of the 20thcentury avant-garde), and even Beethoven (strains of his Coriolan Overture open Chin’s composition) . Unsuk’s score runs the tonal gamut, provides references enough to be hauntingly familiar on the one hand, and creates a sonic palette that pushes music’s limits on the other . A brilliant score by this award-winning, Berlin-based master

Johannes Brahms (1833-1897): Concerto for Violin and Orchestra, Op. 77 in D Major

Instrumentation: Scored for pairs of oboes, flutes, clarinets, bassoons, trumpets, four horns (originally, two ‘natural horns’ in D and two in E), timpani and strings

Duration: 38 minutes

Surprising as it may seem today, Johannes Brahms struggled mightily with insecurities, despite his evident mastery of every musical medium with which he worked A large portion of his concerns was attributable to Beethoven, whom Brahms regarded as his musical forefather, believing he needed to live up to the ideals the older master had established for successive generations . It was a tall order, but one Brahms ultimately achieved in spades . But Brahms also needed the affirmation of his contemporaries, particularly composer and pianist Clara

In the end, the composer did not heed all of his friend’s advice, though the final product proved so sublime that we might applaud Brahms for sticking to his guns . Joachim did insist, however, that he premiere the concerto on the same program with Beethoven’s concerto—a work also in the same key—not so much as a comparison but to pit old against new The premiere, which took place in 1879 with Brahms conducting, was not an overwhelming critical success by any means, a common enough experience for Brahms’ newest offerings But as was also typical of his music, time proved the ultimate judge, and his D major Violin Concerto soon came to be regarded as among the greatest ever written for the instrument

Not unexpectedly, Brahms’ score reveals clear indebtedness to that of Beethoven, including the violin’s entrance with the timpani following the first movement's orchestral introduction . But Brahms’ magisterial creation stands fully on its own as a masterstroke of solo writing infused with robust, symphonic orchestration . In fact, violin virtuoso Pablo de Sarasate refused to play the work on account of not wanting to stand around while the oboe took center stage in the concerto’s sublime second movement! Brahms’ indebtedness to tradition is evident in the work’s three-movement scheme and reliance on classical forms, although in its infancy, Brahms was actually considering a four-movement scheme (in the end, the discarded material was reworked in the composer’s Second Piano Concerto) . Fittingly, Joachim’s masterful first movement cadenza quickly became the most familiar, allowing the violinist’s voice to take its place among his friend’s towering composition, although many violinists have since composed their own . But in the end, it is Brahms’ voice that we ultimately remember, his Violin Concerto enduring among the greatest “orchestral” concertos ever created .

James MacMillan (b. 1959): One

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

Duration: Approximately 3 minutes

The concept of Klangfarbenmelodie, literally tone-colormelody, was championed by Arnold Schoenberg and his student Anton Webern in Vienna during the opening decades of the 20th century . The idea was to explore color throughout the orchestra, in contrast to the emphasis on melody or rhythm, music’s dominant features for centuries . Sir James MacMillan’s One, from 2012, is an exemplary study in orchestral tone color . In fact, there is never more than a single audible line (hence the work’s title), from the opening indigenous-sounding flute solo to the eventual addition of timpani or strumming violins . All dovetail one into another in unison until the very last bars, at which point this Scottish master peels back the curtain ever so quickly, as if to assure us that there were chordal options all along!

Felix Mendelssohn (1809-1847): Symphony No. 5 in D Major “Reformation”

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

Duration: 27 minutes

Few composers have enjoyed the cultural and material privileges afforded the Mendelssohn children Their father was a banker, their grandfather the great Jewish philosopher Moses Mendelssohn, and their mother’s family patrons and acquaintances of Mozart At home, the children’s formidable artistic gifts were strongly fostered By the age of 18, Felix could compose as well or better than most composers twice his age His sister, Fanny, was also a precocious musical talent, and their brother Paul a cellist There was art, theater—the children constantly wrote and put on plays—and tremendous intellectual life in general Guests to their home included mathematicians, scientists, and philosophers—“Europe,” it has been said, “came to their living room . ”

Yet, for all their connections, or perhaps because of them, Felix’s parents decided to break with their Jewish ancestry . Baptized and raised without a religious education, Felix became a member of the Reformed church, and this factor eventually led him to accept a commission to compose a “Symphony to Celebrate the Church Revolution .” The

occasion was the 300th anniversary of Martin Luther’s famous Augsburg Confession, which was to be feted in June of 1830, though the celebration was subsequently canceled on account of rising political tensions in Europe . The planned Paris premiere two years later was also scrubbed when the players rejected Mendelssohn’s score . The composer, among Europe’s elite conductors, ended up directing the first performance in Berlin .

The symphony opens with a stately, solemn introduction featuring a clarion call and, twice towards its conclusion, a cadential formula known as the “Dresden Amen,” a series of six rising notes associated with Dresden (Catholic!) church services (those familiar with the operas of Richard Wagner will recognize this gesture in Parsifal ) The Allegro proper is dark and unsettling because of its minor mode and agitated sixteenth-note passagework, dispatched relentlessly by the violins The movement draws increasingly on the clarion call from the introduction and the Dresden Amen, which keeps the increasing unrest in check The two movements that follow are far less serious in intent A jaunty scherzo follows first, providing a welcome foil to the seriousness that preceded it The pastoral section at its center adds further buoyancy with its absolutely charming wind-dominated writing There follows an all-too-brief Andante, constructed in A-B-A song form, an arioso in all but words, its languishing, searching melody sung by the violins . The benedictory mood at its close gives way to a flute solo, Martin Luther’s universally known chorale Ein feste Burg ist unser Gott (“A Mighty Fortress is our God”) . Note how exquisitely Mendelssohn varies the chorale repetition—such moments make it clear why his scores remain models for orchestration classes to this day .

The finale is a tour de force of formal mastery . Mendelssohn twice bumps up the tempo, first re-inventing the chorale (still more miraculously orchestrated) and then introducing a rocketing arpeggio figure, deftly weaving the chorale in and out of the texture . Following the cello and clarinet reinventions of the chorale comes an extended passage of “learned” counterpoint—voices operating relatively independent of one another, a technique common to Bach and the Baroque and which raised the hackles of the Parisian orchestra— extremely intricate part writing that will soon serve as the accompaniment of the chorale . And finally, the earlier “learned” contrapuntal style is subsequently subsumed

by the Lutheran chorale . As a Protestant, Mendelssohn sought to defend his faith in sound, his score ultimately celebrating the triumph of Protestantism

Whatever the message, Mendelssohn was actually far from satisfied with the final results . He not only withdrew the work from publication but requested that the music be burned (which it thankfully was not) . It was finally published posthumously in 1868, as his 5th Symphony, despite being the second composed . We can perhaps appreciate the composer’s dissatisfaction with his score, given its lack of cohesion and imbalance, particularly when one compares the religious/serious content of the outer movements to the spirited scherzo and gracious Andante at its center Still, for all its unusual qualities, the symphony remains an exquisitely crafted work containing moments of genuine inspiration—the final three minutes alone are among the most thrilling in the repertoire In the end, the Reformation remains a glorious experience, and regardless of one’s religious beliefs, Mendelssohn’s achievement reaffirms our own faith in the power of music

© Marc Moskovitz www.marcmoskovitz.com

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Meet the Musicians

Current

Current

Current

Current

Current

Current

Current

The

Current

The

Current

ProMusica is a collective of world-class musicians performing at the highest level who have chosen to make their musical home in Columbus. Learn more about our musicians online at www.promusicacolumbus.org.

Current

Katherine McLin concertmaster, 23 years

The Donald G Dunn Chair

Residence: Phoenix, AZ

Jennifer Ross principal second, 5 years

The Brachman Smith Family Chair

Residence: Jackson, WY

Victoria Moreira violin, 8 years

Dyann & E Joel Wesp Chair

Residence: Chicago, IL

Amy Cave violin, 8 years

The Randy & Marilyn Miller Chair

Residence: Cleveland, OH

Solomon Liang violin, 4 years

The Laurie & Thomas W Hill Chair

Residence: Columbus, OH

Rebecca Willie assistant concertmaster, 8 years

The Joan M Herbers Chair

Residence: Greensboro, NC

Heather Kufchak violin, 12 years

The Deborah Raita Chair

Residence: Ashland, OH

William Manley violin, 17 years

Fran Luckoff Chair

Residence: Columbus, OH

Koko Watanabe violin, 5 years

The Elizabeth Williams Chair

Residence: Columbus, OH

Eric Kline violin, 11 years

The Jim & Ida Copenhaver Ginter Chair

Residence: Pickerington, OH

Mary Harris

viola, 27 years

The

Current Residence: Oxford, OH

Current

principal cello, 28 years

The

Current Residence: Durham, NC

The

Current

principal double bass, 11 years

The

Current Residence: Columbus, OH

Donna Conaty

principal oboe, 33 years

The

Current Residence: Santa Cruz, CA

double

The

Current Residence: Jacksonville, FL

The

Current

Stephen Goist viola, 8 years

The

Current

The

Current Residence: Chattanooga, TN

The

Current Residence: Cincinnati, OH

principal flute, 2 years

The

Current Residence: St Louis, MO

The

Current

The

Current Residence: New York, NY

The

Ilya Shterenberg

principal clarinet, 5 years

Current Residence: San Antonio, TX

Jennifer

The

Current Residence: Richfield, OH

Nat Chaitkin cello, 15 years

William K Laidlaw Chair

Joel Becktell cello, 14 years

Donna K Laidlaw Chair

Residence: Albuquerque, NM

Cora Kuyvenhoven cello, 22 years

Bob & Mary Frances Restrepo Chair

Residence: Columbus, OH

Brett Allen viola, 12 years

The Keith F and Katherine B Dufrane Trust Chair

Residence: Columbus, OH

Regie & David Powell Chair

Residence: New York, NY

Margaret & Jerome Cunningham Chair

Marc Moskovitz

Barbara Trueman Chair

John Pellegrino

John F Brownley Chair

Patrick Bilanchone*

bass, 6 years

Kathryn D Sullivan Chair

Beth Grimes-Flood & Tom Flood Chair

Magistrelli clarinet, 11 years

Jack & Betsy Farrar Chair

Nadine Hur

Dana Navin Schultz Chair

Anthony Trionfo+ flute, 2 years

Miriam & Bernard Yenkin Chair

Jessica Smithorn oboe, 4 years

Artie & Alisa Isaac Chair

Michael Isaac Strauss viola, 7 years

Anne Powell Riley Chair

Residence: Oberlin, OH

Lee Shackelford Chair

The

Current

Current

Current

The

Current

Current

The

Current

+ one-year appointment * on leave for the 2022-23 season

The

Current

Timothy Leasure trumpet, 19 years

William & Wendy Faust Chair

Residence: Pickerington, OH

Stephanie Blaha principal horn, 5 years

The Todd S Swatsler Chair

Residence: Wadsworth, OH

Jeanne Norton

principal harp, 43 years

Sustaining Board Chair

Residence: Columbus, OH

Rachael Young bassoon, 7 years

The Carolyn Merry & Bob Redfield Chair

Residence: Cincinnati, OH

Aya Hamada

principal harpsichord/keyboard, 18 years

ProMusica Board Chair in memory of Ida Copenhaver

Residence: New York, NY

Rajesh Prasad percussion, 9 years The Bob Redfield & Mary Yerina Chair

Current Residence: Raleigh, NC

Renee Keller principal timpani and percussion, 9 years The Michael & Jody Croley Jones Chair

Residence: Lima, OH

Ellen Connors

principal bassoon, 12 years

Loann W Crane Chair

Residence: St Louis, MO

2021-2022 Annual Fund Contributors

ProMusica Chamber Orchestra is grateful to the following donors who support our efforts to deliver a world-class and unique classical music experience. We invite you to join our circle of supporters online at promusicacolumbus.org, or by calling ProMusica’s Development Office at 614.464.0066 ext. 104.

MAESTROS

$10,000 AND ABOVE

Gifts from Individuals

Deborah Anderson

Lavea Brachman and Andrew O. Smith

Margaret and Jerome Cunningham

The Dunn Family

Ida Copenhaver and Jim Ginter

Joan Herbers

Helen Liebman and Tom Battenberg

The Richard M. Ross, Jr. Family

Kathryn Sullivan

Todd Swatsler

Barbara Trueman

Miriam and Bernie Yenkin Anonymous

Support from Corporations, Foundations & Public Agency Funds

American Electric Power Cardinal Health

Kenneth L. Coe and Jack Barrow Fund of The Columbus Foundation

CoverMyMeds LLC

The Crane Family Foundation

The Fox Foundation

Greater Columbus Arts Council Ingram-White Castle Foundation L Brands

Nationwide Ohio Arts Council

ProMusica Sustaining Board

The Reinberger Foundation

The Shackelford Family Fund of The Columbus Foundation

The Siemer Family Foundation

SPECIAL GIFTS

In Memory of Donald Dunn DGD Group

ENCORE

$5,000 - $9,999

Gifts from Individuals

George Barrett

Lauren Bonfield and Stephen Keyes

John F. Brownley

The Michael and Paige Crane Fund of The Columbus Foundation

The Crowley Family Charitable Fund

Keith Dufrane

Betsy and Jack Farrar

Beth Grimes-Flood and Tom Flood

Jody Croley Jones and Mike Jones

Suzanne Karpus

Donna Laidlaw

Regie and David Powell

The Quintenz Family Mary Frances and Bob Restrepo

Anne Powell Riley

Dana Navin Schultz and Hugh Schultz

Mary Yerina and Bob Redfield Anonymous

Support from Corporations & Foundations

The George Foundation Huntington Key Bank

The Hattie and Robert Lazarus Fund of The Columbus Foundation PNC

Vorys, Sater, Seymour and Pease LLP

SYMPHONY

$3,000 - $4,999

Gifts from Individuals

Barry Blank

Wendy and Bill Faust

Anne and Matthew Fornshell

Dr. Dara and Mark Gillis Laurie and Thomas Hill

Artie and Alisa Isaac – Yellow Springs Community Foundation

Susan Johnson

Drs. Bill Mitchell and Wayne Lawson

The Mary and Robert Lazarus Fund of The Columbus Foundation

Fran Luckoff

Nancy Marzella

Marilyn and Randy Miller

Deborah Raita

David Schooler

Sallie Joyce Sherman Kara Trott and Bob Philips Dyann and Joel Wesp

Elizabeth Williams Anonymous

Support from Corporations, Foundations & Public Agency Funds

City of Columbus Recreation and Parks Department

Florence E. K. Hurd Fund of The Columbus Foundation

Porter, Wright, Morris & Arthur LLP

Yenkin-Majestic Paint

SPECIAL GIFTS

In Memory of Pamela Romeo Elliott James Elliott

In Honor of Pat Garavito

Cardinal Health

CONCERTO

$2,000 - $2,999

Gifts from Individuals

Lynn and Paul Blower

Catherine and John Brody

Mary and Steve Burkey

John and Trish Cadwallader Peter and Jayne Wenner Costanza

Lynn Elliott

Adam and Kate Ferguson

Pat and Darla Garavito

Doug and Monica Kridler

Ruth Lantz

Susan and Barry Lubow Jessica Mrowzinski Nancy and Ray Traub

Support from Corporations & Foundations

BakerHostetler

Henry W. & Martha L. Bruner

Philanthropic Fund at the Buffalo Community Foundation English Family Foundation Genworth Foundation

SPECIAL GIFTS

In Memory of Frances N. Lazarus Peggy Lazarus

RHAPSODY

$1,000 - $1,999

Gifts from Individuals

Julia and Milt Baughman

Sally and Roger Baughman

Pamela and John Beeler Evelyn Behm

Linda Blumenthal Yvonne and Richard Burry

Janet Chen and Rick Buchanan Mary Jo Conte

Mark and Mindy Corna Patt and Chuck DeRousie Bebe and John F. Finn Dona Fling Linda and Bill Habig Steven Hillyer

Pam Hussen and Patrick Vincent Patricia and Brent Jackson

The Josenhans Family Fund of The Columbus Foundation

George F. Knight

Elliott S. Luckoff

Margaret A. Malone Nichole and Kenny Marshall

Susan and Bill McDonough

Patrick Ross

Julie and Bob Rutter

Elizabeth Sawyers Doug and Ann Teske Gail Walter and Allen Proctor

Roger and Sue Whitaker John and Sherry Young Anonymous

SPECIAL GIFTS

In Honor of Janet Chen Sherri Geldin

In Memory of George Corey Georgeann Corey

In Memory of Donald Dunn Mary and William Vorys

In Memory of Allene N. Gilman Allene N. Gilman Charitable Trust

In Honor of Dave Humeston McKesson

In Memory of Ardella Mae Posey Annegreth T. Nill and Bruce C. Posey

SONATA

$500 - $999

Gifts from Individuals

Robert Allen and Diane Weaver

Katherine Borst Jones

Barbara and David Brandt Earl Busenberg

Robert Byrd

Pat Cash Isaacson and Jack Isaacson

Bob and Julie Connors

Esther Connors

Saundra Dombey Cooke William and Christine Farquhar Cornelia Ferguson

Barbara and Gary Giller

Patricia Barnes Hadler Sheryl Hansen

Neal Hauschild and Jeff Ramm

Joshua and Brandy Hill Ann and James A. Jones Ira and Debby Kane

Joyce and Willem Kogeler

Charlie and Linda Kurtz

Clara Lee and Bill Miller

Susan and Douglas Levin Mary Pat Martin and Rick Livingston

Susan C. Meiling

Christine and Kirk Merritt

Larry and Peg Neal Gerald and Ann Newsom

Ruth Paulson

Angela and John Petro

Sue Porter and Mike Sayre Anne Skaggs

Judi and James Stillwell

Ed and Nancy Strause Fund at The Columbus Foundation

Tom Szykowny and Susan Dutton Anonymous

Support from Foundations

Lewin Family/Hamilton Parker Foundation

SPECIAL GIFTS

In Honor of Janet Chen Gerald Maloney

In Memory of Alfred B. Strickler

The Strickler Family Fund of The Columbus Foundation

OVERTURE

$250 - $499

Gifts from Individuals

George and Vanessa Arnold

Maceo and Rhonda Bates

Steve Bigley and Rebecca Roeder Constance Bodiker

Judith and Merom Brachman

Herbert Bresler and Cheryl Vaia

Greg and Kim Bryan

Cherubino

Daniel and Christina Crane

Cindy and John Deliman

Laura and Pat Ecklar

Amy Thompson and Stephen Fechtor Mabel Freeman

Melissa and Herb Hedden

Ann and Thomas E. Hoaglin

George and Marilyn Hoeflinger

Brian Houts

Deborah and Douglas King

Sharon Kokot

Christine Kullberg and Meri Brace

Ursula and Wolfgang Kunze

Matthew Kurk and Nicole Kessler

Jennifer and William Markovich

Harry Pukay-Martin

Jane McMaster

Dixie Sayre Miller Fund of The Columbus Foundation Mark L. Miller

promusicacolumbus.org

Karen and Neil Moss

Elizabeth and Kulu Moyo

Maureen Mugavin and Michael Fiske

Linda Roomann and William Slutz

Sadie and Seyman Stern

Ella Uretsky

John and Deborah Urton Adam Wagenbach and Kathleen Murphy Margie and Thomas Williams Leslie Yenkin and Jonathan Petuchowski Anonymous

PRELUDE

$100 - $249

Gifts from Individuals

Mary Ann and Michael Abrams Jane and Stan Ackley

Ronald Bell

Michael L. Benedict Jane Blank Dr. Tom and Penny Boes Ann Brace and Lawrence Herman Henry Brecher

Miriam Brierley Susan Brown

Michael Burton David and Lucy Buzzee Alan Carter

Carol Chaitkin

Willkie Cirker and Sharon Hammersley Briana, Brenden, and Giani Colvin Bonita B. Covel

Larry Cunningham and Elizabeth Jeffries Betsy and Nick DeFusco Erik and Annabel Edwards Todd A. Ehninger

Linda Fedak and Blake Getson Fonda Fichthorn Judy and Ted Fisher

Gary Flach

Linda Fowler

Karen and Ben Freudenreich

Brian Fruchey

Vanessa and Michael Fuson Tom and Kim Gattis

Laura and Eric Geil Nick and Debbie Geldis Nelson and Carole Genshaft

Patricia Gold

David S. Guion

Ruth Guzner

Bryan and Marlene Hartzler

David Hedgecoth

Rose Hume and Jim Dunn Sarah Irvin Clark

Dr. Terri Jones

Constance Jump Gale and Steve Klayman Katie Kuvin Barbara and David Lambert Syd Lifshin

Philip Lortz

Mary Frances Macioce Marybeth McDonald Joyce and Sean McKinniss Daniel L. and M. Kathleen Moore

Laura Moorman

Marilyn and Robert Nims

Julia Noulin-Merat Sue and Howard Petricoff

Bryant and Sandra Riley

Julie Robbins

Sharon Sachs and Donn Vickers

Lyle Saylor

Paulette Schmidt

Lucas Schrader and Liz Jaggers

Gary and Beth Schwarzmueller

Stacie and Mark Sholl

Marcia Katz Slotnick

Amina and Dino Smajlovic

Ron Smith

Rose Sobel

Jeff and Peggy Sutton Robin Vachon-Kraut Betsy and Charles Warner Lillian Webb

Bernice and Chuck White Patricia M. M. Wiedner

Robert Wing

Worthington Hills Women’s Club Anonymous

This list includes contributions made to ProMusica for the period of July 1, 2021 to June 30, 2022. Every effort has been made to ensure accuracy. However, in listings of this length, errors and omissions may occur. If your name has been omitted, or listed incorrectly, we sincerely apologize. Please let us know so that we may correct our records and this listing. Thank you.

Gifts to the Endowment Fund

Gifts contributed to the ProMusica Endowment Fund provide a lasting financial foundation for the future of our orchestra. ProMusica Chamber Orchestra deeply appreciates the following gifts received during the 2021-2022 giving year (July 1, 2021 – June 30, 2022).

In Honor of Janet Chen Carol A McGuire

In Memory of Ida Copenhaver Molly and Brian Snell

In Memory of Loann Crane

Barbara and David Brandt

Georgeann Corey Ruth Guzner

Peggy Lazarus

The Markus Family Colleen Nissl and Roger Sugarman Elizabeth Williams Anonymous

In Memory of Donald Dunn Julia and Milt Baughman

Adam Bell

Beverly Bell Phil and Ann Bickel A .L P. and the Brown Family John F Brownley Nancy and George Byers Leonard and Gail Calodney Marilyn and Martin Campbell Bill Casto

David and Annjia Chan Janet Chen and Rick Buchanan Albert and Judy Clovis Sarah Crane Cox Beth Crane and Richard McKee

Michael and Paige Crane William and Christine Dargusch Ron and Jill Dean Laura Dehelendorf and Jameson Crane

Keith Dennis Grant and Susan Douglass Mr and Mrs James R Dunn Beverley Ervine and Boyce Lancaster

Fahlgren Mortine

Elliott Farkas

Betsy and Jack Farrar Allison Fulford

James Garland and Carol Andreae Beth Grimes-Flood and Tom Flood

Jim Ginter

Mitch and Chris Grindley Sue and James Gross Bill Habelow

Sandy and Robin Harbrecht Sharon Hays

Laurie and Thomas Hill Ann and Thomas E . Hoaglin

The Hondros Family Leslie Huntington

Suzanne Karpus

Donna and Richard Larkin

Mary Lazarus

Peggy Lazarus

Andrew and Amy Lester Larry and Jared Levinson Alex and Katie Marsh Nancy Marzella Robert and Judith Meyer Marcia Miller

Marilyn and Randy Miller Elizabeth and Tom Mitevski

Rhonda and Michael Murnane

Norma Palmer

Ann and Ron Pizzuti

Pritzker Private Capital Susan and Ken Quintenz

Cordelia Robinson

Alex and Marty Ross

Lane and John Rothschild Thomas and Lynn Ryan Bill and Shari Schwartz

Mr . and Mrs . Zuheir Sofia Thomas Szykowny and Susan Dutton

Truck Hero Webb and Liz Vorys Troy Walters Owen and Martha Whitfield Elizabeth Williams, Columbus, OH Elizabeth Williams, Superior, CO Margie and Thomas Williams Frank and Carol Wojcik Ellen Yen

Mary Yerina and Bob Redfield John Zambito Cheryl and John Zeiger Anonymous

In Honor of Suzanne Karpus Mary Lazarus

In Memory of Janet Adele Lancaster Goring Boyce D Lancaster

In Memory of Larry Lannison Laurie and Thomas Hill

In Honor of Peggy Lazarus Mary Lazarus Bobbi and Rob Lucas Susan and Ken Quintenz Elizabeth Williams

In Memory of Fran Luckoff Visiting Angels Columbus Anonymous

In Honor of Susan and Bill McDonough Sheila Kroos

In Honor of Katherine McLin Gary and Sara Gislason In Memory of Dana

Navin Schultz

Mrs . Mark Federer

Beverley Ervine and Boyce Lancaster Linda Larrimer Sally and Neil Larrimer Allen Baker and Al Waddell

In Honor of Gavin Sebastian Gail and James Lowe

In Honor of Lee Shackelford Patti Shorr

In Memory of Edward Tausk Melva Fisher

The Estate of Tydvil Thomas

In Honor of Susan Quintenz Elizabeth Williams Ellen Yen

In Memory of Marvin W. Wente Lisa Wente

In Memory of Andi Wobst Jeney Donald G . Dunn

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

Play Us Forward Donors

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

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

Contributions listed were received for the 2021-2022 school year

INDIVIDUALS

James Anderson

Tara Buckwalter

Robert Byrd

Prasad Chirumamilla Georgeann Corey

Peter Craigmile Meghan Domeck

Dorie and Michael Greenspan Joy and Michael Gonsiorowski Sheryl Hansen

Steven Hillyer

Susanne Jaffe

Jody Croley Jones and Mike Jones

James Knippenberg

Barbara and David Lambert

Rashmi Nemade

Mary Robins

Arlene Roth

Jennifer and Daniel Shively Kevin A Smith

SPECIAL GIFTS

In Honor of Barbara Fergus Peggy Lazarus Susan Quintenz

In Honor of Peggy Lazarus Ellen Bowden

SUPPORT

FROM CORPORATIONS, FOUNDATIONS & PUBLIC AGENCY FUNDS

CoverMyMeds LLC Huntington Ingram-White Castle Foundation Key Bank

The Hattie and Robert Lazarus Fund of The Columbus Foundation

The Loft Violin Shop Ohio Arts Council

ProMusica Sustaining Board Puffin Foundation West

now 28 stories higher. An elevated experience

402 N. High Street Columbus, OH 43215 hiltoncolumbusdowntown.com

Located in the heart of the Short North Arts District, Hilton Columbus Downtown welcomes you to the newest addition to the Columbus skyline, making the hotel the largest in Ohio with nearly 1,000 rooms

FYR, Stories on High,

The Market,

Spark,

Hilton Columbus Downtown now offers four new food & beverage outlets, including the signature live fire restaurant FYR, a rooftop lounge, Stories on High, sitting 28 stories over High Street (coming fall 2022), Spark, featuring Midwestern fare and classic cocktails, and The Market, a grab and go option offering salads, sandwiches and sundries

Hilton Columbus Downtown is a proud supporter of ProMusica Chamber Orchestra!

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