ProMusica Oct-Nov 2019 Program Book by ProMusica Chamber Orchestra

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CEO WELCOME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

MUSIC DIRECTOR BIOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

CREATIVE PARTNER & PRINCIPAL GUEST ARTIST BIOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . . .

ABOUT THE ORCHESTRA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

IMPORTANT INFORMATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 BOARDS AND ADMINISTRATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 5 OPENING NIGHT Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 3 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 SCHUBERT & SCOFANO Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Musician Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 1 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 2 MEET THE MUSICIANS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 FINANCIAL SUPPORT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

SEASON SUPPORT SEASON PARTNERS ProMusica Chamber Orchestra 620 East Broad Street – Suite 300, Columbus, OH 43215 614.464.0066 • www.promusicacolumbus.org

Program Design:

Orchestra & Musician photos:

Please recycle. Recycling bins are located in the lobby. If you’d like to save your program, that’s okay too. Thank you!

Chief Executive Officer Dear Friends: Welcome to our 2019-20 season! This year, Music Director David Danzmayr, Creative Partner Vadim Gluzman, and our ProMusica musicians will continue to bend and push musical boundaries. A remarkable roster of international guests including percussionist Colin Currie and violinist Esther Yoo will be showcased alongside our own brilliant talent. Each of our performances this season features the work of one or more living composers, as we continue to promote our ever-evolving art form. We will highlight the beautiful music of Wolfgang Danzmayr, father of our own David Danzmayr in January — and Caroline Shaw, the youngest composer to win the Pulitzer Prize at age 30 joins us in May for a powerful season finale alongside Brahms’ First Symphony. ProMusica also adds three premieres under its belt this season — the Ohio premiere of female composer Helen Grime’s Percussion Concerto; the U.S. premiere of Argentinian composer/performer Richard Scofano’s concerto for bandoneón and orchestra; and the world premiere of our 68th commission by composer and cellist Joshua Roman. And true to our trademark mix of innovation and tradition, our NAKED CLASSICS series continues with host Paul Rissmann and together we delve into the minds and magical works of Mozart and Schubert. Whether you are a long-term subscriber, or new to the ProMusica experience, we welcome you! Our concerts are nothing without an audience, and your generous and warm-hearted response to ProMusica is an inspiration to us. Thank you for your support and for sharing your evening with ProMusica. Sincerely,

Janet Chen CEO

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. She holds a bachelor's degree from the Oberlin Conservatory of Music and a master's degree in flute performance from the University of Cincinnati College-Conservatory of Music. She completed the Executive Program for Nonprofit Leaders in the Arts — a joint program of the Stanford Graduate School of Business and National Arts Strategies; and also participated in the Executive Fellowship Program with the Jefferson Center Academy for Leadership and Governance. Since 2006, Janet has served as Executive Director of ProMusica. In 2018, she was one of ten members representing Columbus at the Young American Leaders Program at the Harvard Business School. She was selected as one of Columbus Business First’s “Forty Under 40” and one of “19 Non-profit Innovators” by CityPulse Columbus. Janet has been featured in Columbus CEO Magazine, The Columbus Dispatch, and is a featured artist as part of Columbus, Ohio’s “Art Makes Columbus” marketing campaign. In 2018, she was named a YWCA Columbus Woman of Achievement and honored by Columbus Business First as one of the “Most Admired Executives in Central Ohio.” Janet serves on the Board of the Columbus Music Commission and is a member of the Columbus Cultural Leadership Consortium. Prior to joining ProMusica, Janet served as Assistant Principal Flute with the Taipei Symphony Orchestra in Taipei, Taiwan and appeared as guest soloist several times. Janet spent two summers as a flute instructor at the Interlochen Center for the Arts in Michigan, where she coached and taught students who attended the Interlochen Summer Arts Camp.

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Photo: Rick Buchanan Photography

From the

Excellence The COR Group proudly supports the ProMusica Chamber Orchestra The COR Investment Group UBS Financial Services Inc. 5007 Horizons Drive, Columbus, OH 43220 614-460-6552 800-421-6172 Brent G. Coakley, CFP® Senior Vice President–Wealth Management Thomas P. Reusser, CFP® Senior Vice President–Wealth Management Frank Courtney Senior Vice President–Wealth Management

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Photo: Rick Buchanan Photography

The Elizabeth M. Ross Music Director

David Danzmayr

“The performance was an unmitigated triumph.” Michael Tumelty, The Herald

“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. 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.

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

Building these early successes into a far-reaching international career, Danzmayr has quickly become a sought-after guest conductor

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Photo: Marco Borggreve

Creative Partner & Principal Guest Artist

Vadim Gluzman

Universally recognized among today’s top performing artists, Vadim Gluzman brings to life the glorious violinistic tradition of the 19th and 20th centuries. Gluzman’s wide repertoire embraces new music and his performances are heard around the world through live broadcasts and a striking catalogue of award-winning recordings exclusively for the BIS label. The Israeli violinist appears regularly with major orchestras such as the Berlin Philharmonic, Boston Symphony, Chicago Symphony, Cleveland Orchestra, Israel Philharmonic, Leipzig Gewandhaus, London Symphony, Orchestre de Paris, Philadelphia Orchestra, and the Royal Concertgebouw. He collaborates with leading conductors including Riccardo Chailly, Christoph von Dohnányi, Tugan Sokhiev, Sir Andrew Davis, Neeme Järvi, Michael Tilson Thomas, Semyon Bychkov, Jukka-Pekka Saraste, Paavo Järvi, and Hannu Lintu. Festival appearances include performances at Lockenhaus, Ravinia, Tanglewood, Verbier, and the North Shore Chamber Music Festival in Chicago, founded by Gluzman and pianist Angela Yoffe, his wife and recital partner.

This season Gluzman gives the world premieres of a new violin concerto by Erkki-Sven Tüür with the HR Frankfurt Radio Symphony under Andris Poga, Joshua Roman’s Double Concerto with the ProMusica Chamber Orchestra, conducted by David Danzmayr, Moritz Eggert’s “Mir mit Dir” at the Kronberg Academy Festival, as well as UK premiere of Sofia Gubaidulina’s Triple Concerto with BBC Philharmonic under Omer Meir Wellber. He has given live and recorded premieres of other works by Sofia Gubaidulina, as well as Giya Kancheli, Elena Firsova, Pēteris Vasks, Michael Daugherty, and most recently Lera Auerbach. 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, ClassicFM, and others. Distinguished Artist in Residence at the Peabody Conservatory in Baltimore, Gluzman performs on the legendary 1690 ‘ex-Leopold Auer’ Stradivari on extended loan to him through the generosity of the Stradivari Society of Chicago.

Highlights of his 2019-20 season include performances with Orchestre de Paris under Tugan Sokhiev and the Orpheus Chamber Orchestra in Carnegie Hall, concerts with the BBC Philharmonic, Detroit and Houston Symphony Orchestras, St. Petersburg Philharmonic, Lucerne Symphony, Dresden Philharmonic, Staatskapelle Weimar, and Orchestre National de Lyon. He will lead the Moscow Virtuosi Chamber Orchestra and the ProMusica Chamber Orchestra in Columbus, Ohio, where he serves as Creative Partner and Principal Guest Artist. 2019-20 SEASON | promusicacolumbus.org

OUR MISSION

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

About the Orchestra 8

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ProMusica is 37 musicians from all over the country who are redefining what it means to be a chamber orchestra. Led by Music Director Danzmayr and Creative Partner, renowned violinist Vadim Gluzman, our vision is to engage, inspire, and connect people to the world around them through the joy of ProMusica. The orchestra both honors the classical traditions and champions the contemporary, with a deep commitment to new works, commissions and premieres.

Deeply rooted in our city’s cultural fabric, our outreach programs impact approximately 17,000 lives each season. ProMusica musicians travel to local schools serving as teaching artists, senior citizens attend working rehearsals, and underserved youth are given life-changing opportunities through the power of music. Programs such as “Play Us Forward” offer integrated, in-school based music curriculum, while Storytime and family concerts at Columbus Metropolitan Library branches provide arts access in nurturing neighborhood environments. “CODA: Post-concert Conversations” offer the opportunity for a direct dialogue between audiences and guest artists — deepening engagement with the music and performers. Our free Summer Music Series demonstrates our unwavering commitment to offer accessible and transformative musical experiences to all residents in our community. ProMusica has won eight ASCAP awards for Adventurous Programming and has received additional honors, including from the Greater Columbus Arts Council and the Columbus Jewish Foundation. In 2015, 2016, and 2018, the orchestra was selected as a recipient of The Columbus Performing Arts Prize, an esteemed award designated to celebrate and support the exceptional artistic directors of Columbus’ performing arts organizations and their aspirations for creative growth. In April 2019, ProMusica was named one of the “5 Nonprofits to Watch” by The Columbus Foundation.

Photos: Rick Buchanan Photography

Founded in 1979, ProMusica reaches a broad audience, performing at the intimate Southern Theatre in downtown Columbus in which it is the resident orchestra, and goes beyond the city limits, presenting concerts at the Worthington United Methodist Church. The orchestra presents an annual Summer Music Series of outdoor performances at the Franklin Park Conservatory & Botanical Gardens, and offers unique and intimate chamber ensemble concerts at non-traditional spaces including Natalie’s Coal-Fired Pizza, Brothers Drake Meadery, and Wolf’s Ridge Brewing. In 2017, ProMusica made its Chicago debut performing for a sold-out crowd at the prestigious North Shore Chamber Music Festival. Chicago Classical Review noted the ensemble’s “robust unified string timbre [was] most impressive, having an abundant Mozartean grace.”

Steep Canyon Rangers, Time for Three, Ricky Skaggs & Kentucky Thunder, and Bela Fleck and the Flecktones. This is all 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.

Similarly to many of our international guest artists, we embrace an array of eras and influences. ProMusica’s performances are time-tested and modern, presented in ways that few orchestras can. Widely recognized as a national leader in promoting contemporary repertoire, we have commissioned 68 pieces and more than 120 world and regional premieres by composers including Pulitzer prize winners Kevin Puts and Aaron Jay Kernis, Joan Tower, Gabriela Montero, Michael Daugherty, Lera Auerbach, Gabriela Lena Frank, Mark O’Connor, Conrad Tao, and Joshua Roman. ProMusica has an active recording program with thirteen CDs released to date, including world premiere performances of our commissioned works. Our innovative NAKED CLASSICS series with renowned host and presenter Paul Rissmann, explores classical music in a fresh and completely approachable format. We are one of the few American chamber orchestras to have performed an entire Schubert Symphony Cycle (including Schubert scholar Brian Newbould’s finished versions of Unfinished and Symphony No. 10) and recently completed a two-year Beethoven Symphony Cycle. ProMusica has forged unique collaborations with crossover artists including Jon Batiste, 2019-20 SEASON | promusicacolumbus.org

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 $11 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.

Upcoming Events SUBSCRIPTION SERIES

0199-2 –202 0200SSEEAS ASOONN 2201

WORTHINGTON SERIES

SCHUBERT & SCOFANO Saturday, November 2 // 5:30 PM Sunday, November 3 // 7:00 PM Southern Theatre Richard Scofano, bandoneón & composer

AN EVENING OF STRING QUARTETS Saturday, February 29 // 5:30 PM Worthington United Methodist Church Katherine McLin, violin Jennifer Ross, violin Mary Harris, viola Marc Moskovitz, cello

SOUNDS OF THE SEASON Saturday, December 14 // 5:30 PM Sunday, December 15 // 7:00 PM Southern Theatre Colin Currie, percussion TCHAIKOVSKY VIOLIN CONCERTO Saturday, January 11 // 5:30 PM Worthington United Methodist Church Sunday, January 12 // 7:00 PM Southern Theatre Esther Yoo, violin MOZART & THE MASTERS Saturday, April 4 // 5:30 PM Worthington United Methodist Church Sunday, April 5 // 7:00 PM Southern Theatre Joshua Roman, cello & composer Vadim Gluzman, violin & creative partner BRAHMS & SHAW Saturday, May 9 // 5:30 PM Sunday, May 10 // 7:00 PM Southern Theatre Caroline Shaw, vocalist & composer

TANGO IN PARIS Saturday, March 7 // 5:30 PM Worthington United Methodist Church Victoria Moreira, violin Ilya Shterenberg, clarinet Joel Becktell, cello Ryan Behan, piano

SESSIONS IT TAKES FOUR TO TANGO Thursday, October 24 // 8:00 PM Natalie’s Coal-Fired Pizza and Live Music Victoria Moreira, violin Naomi Culp, violin Amanda Grimm, viola Hope Shepherd DeCelle, cello

NAKED CLASSICS NAKED CLASSICS: SCHUBERT’S UNFINISHED SYMPHONY Friday, November 1 // 8:00 PM Southern Theatre Paul Rissmann, presenter & host David Danzmayr, conductor NAKED CLASSICS: MOZART — JOURNEY OF A GENIUS Friday, April 3 // 8:00 PM Southern Theatre Paul Rissmann, presenter & host David Danzmayr, conductor

BACH IN TIME Thursday, November 7 // 8:00 PM Natalie’s Grandview Joel Becktell, cello

SPECIAL EVENTS MESSIAH SIDE-BY-SIDE SING-ALONG Friday, December 13 // 7:30 PM Southern Theatre William Ballenger, host PROMUSICA SOIRÉE Saturday, February 1 Southern Theatre Save the date—guest artist details to be announced!

TO SUBSCRIBE OR BUY TICKETS, CALL 614.464.0066 EXT. 101.

promusicacolumbus.org

2019-20 SEASON | promusicacolumbus.org

WISHING YOU A FANTASTIC SEASON, PROMUSICA!

SCHOOL OF MUSIC We proudly acknowledge ProMusica Chamber Orchestra members

FACULTY Robert Gillespie • Timothy Leasure • Jeanne Norton

2019–20 HIGHLIGHTS

Over 100 FREE student ensemble, faculty and guest performances Marching Band Hometown Concert • November 3 Music Celebration Concert • December 3 Opera & Lyric Theatre presents Stephen Sondheim's Into the Woods • March 28–29 Over 15 outreach programs for young musicians

music.osu.edu

Proudly supports ProMusica Chamber Orchestra. Stay after the concerts at the Southern Theatre for Coda: Post-Concert Conversations to fill your mind and your stomach with treats provided by Cornucopia!

Cornucopia is a provider of quality catering service in Ohio Cornucopia Comestibles, Inc. 2474 East Main Street, Columbus, OH 43209 (P) 614.231.6323 (F) 614.231.1149

Board of Trustees and Administration OFFICERS President Past President Vice-President Vice-President Vice-President Treasurer Secretary

Lee Shackelford, Physician Joan Herbers, The Ohio State University William Faust, Ologie Matthew Fornshell, Ice Miller LLP Kathryn Sullivan, Astronaut & Civic Leader Robert Restrepo, CEO (retired), State Auto Bob Redfield, Civic Leader

TRUSTEES Lavea Brachman, Ralph C. Wilson, Jr. Foundation Lynn Elliott, Columbus Window Cleaning Elizabeth Turrell Farrar, Vorys, Sater, Seymour & Pease LLP Patricio Garavito, Cardinal Health Jacob Gibson, PNC Bank Brian Hall, Porter, Wright, Morris & Arthur LLP Laurie Hill, Civic Leader Brent Jackson, Fifth Third Bank Susan Kairis, Civic Leader Stephen Keyes, Abercrombie & Fitch Susan Lubow, BakerHostetler Bill McDonough John Pellegrino, ProMusica Musician Representative Susan Quintenz, Civic Leader Julie A. Rutter, American Electric Power Lynda Schockman, Huntington Bank Mark Sholl, Hilliard City Schools Todd Swatsler, Partner (retired), Jones Day Sergio Tostado, Jones Day EX-OFFICIO Mary Yerina, Sustaining Board Representative David Danzmayr, Music Director Janet Chen, Chief Executive Officer

ADMINISTRATION David Danzmayr Music Director Janet Chen Chief Executive Officer Vadim Gluzman Creative Partner & Principal Guest Artist Yvette Boyer Finance Manager Sarah Gattis Patron Services & Marketing Associate Ann Kriewall Operations & Community Outreach Coordinator Matthew Kurk Director of Advancement & Engagement Brittany Lockman Director of Marketing Mariana Szalaj Orchestra & Operations Manager Margaret Wells Executive Assistant & Board Liaison TRUSTEES CIRCLE Artie Isaac, Chair Deborah Anderson Tom Battenberg Milt Baughman Mark Corna Peter Costanza Loann Crane Patt DeRousie Donald Dunn Jim Elliott Sylvia Goldberg Melissa Ingwersen Dr. Wayne Lawson Mary Lazarus Peggy Lazarus Nancy Marzella Dr. William Mitchell Richard Smith Jane Werum Elizabeth Williams Bernie Yenkin

2019-20 SEASON | promusicacolumbus.org

Our commitment to the arts We are proud to support the ProMusica Chamber Orchestra. When superb professionals work in concert, amazing things happen. bakerlaw.com

Sustaining Board The ProMusica Sustaining Board was founded in 1988 to expand community awareness about the orchestra by providing financial and volunteer support. Annual membership dues are $50 (Musician), $125 (Principal), and $200 (Concertmaster).

EXECUTIVE COMMITTEE Mary Yerina President Yvonne Burry Vice President Sally Baughman Secretary Michael Maggard Treasurer Claudia Abrams Past President APPOINTMENTS Jennifer Markovich Membership Yvonne Burry Special Events Lisa Maggard Marketing Jody Croley Jones and Bob Redfield Culinary Capers XXVI PAST PRESIDENT ADVISERS Donna Laidlaw

MEMBERS-AT-LARGE Mary Faure Betty Giammar Marianne Mottley Laurie Schmidt-Moats Marquell Segelken Dyann Wesp CONCERTMASTER MEMBERS Claudia Abrams Sally Baughman Yvonne Heather Burry Sandy Byers Maggie Cunningham Patt DeRousie Harriet Donaldson Carol Hershey Durell Beverley Ervine Betty Giammar Beth Grimes-Flood Laurie Hill Steven Hillyer Marty Johnson Jody Croley Jones Michael Jones* Susan Kairis* Donna Laidlaw Lisa Maggard Jennifer Markovich Deborah Norris Matthews Marybeth McDonald* Marianne Mottley Larry Neal*

Mary Oellermann Thomas Oâ&#x20AC;&#x2122;Reilly Susan Quintenz Bob Redfield Laurie Schmidt-Moats Dana Navin Schultz Lee Shackelford Sallie Sherman Stephanie Stephenson Vincent Thompson* Tyd Thomas Gail Walter Elizabeth Williams Robert Wing Miriam Yenkin Mary Yerina PRINCIPAL MEMBERS Marilee Chinnici-Zuercher Ellen Kay Douglas Elizabeth Turrell Farrar Marion Fisher Rose Hume* Mary Lazarus Jonathan Lipps* Susan McDonough* Jane McMaster Dorothy Pritchard Anne Powell Riley Hugh Schultz Dyann Wesp Margie Williams

2019-20 SEASON | promusicacolumbus.org

MUSICIAN MEMBERS Ellen Bowden Donna Cavell* Janet Chen Lynn Elliott Mary Faure Anne Fornshell* Paul George Sue Gross Elayne Gunder Joan Herbers Jessica Kim Linda Kurtz Michael Maggard Michael Robertson Elizabeth Sawyers Ryan Schick* Melissa Schmidt* Marquell Segelken Stacie Sholl Serie Zimmerman * New or returning member

A perpetual membership has been established for Jennifer M. Keefer (1969-2003), former Executive Director of the ProMusica Chamber Orchestra

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

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D AV I D D A N Z M AY R THE ELIZABETH M. ROSS MUSIC DIRECTOR VIOLINS Katherine McLin, concertmaster The Donald G. Dunn Chair Rebecca Willie, assistant concertmaster The Hillsdale Fund Chair Jennifer Ross, principal second The Joan M. Herbers Chair **Amy Cave The Randy & Marilyn Miller Chair Robert Gillespie The Wilson Family 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 Mary Harris, principal The Margaret & Jerome Cunningham Chair **Brett Allen The Jane Werum Chair Stephen Goist The Regie & David Powell Chair Michael Isaac Strauss The Anne Powell Riley Chair VIOLONCELLOS Marc Moskovitz, principal The Barbara Trueman Chair **Cora Kuyvenhoven The Bob & Mary Frances Restrepo Chair Nathaniel Chaitkin The William K. Laidlaw Chair Joel Becktell The Donna K. Laidlaw Chair

BASSES John Pellegrino, principal Patrick Bilanchone The Kathryn D. Sullivan Chair FLUTES Vacant, principal The Dana Navin Schultz Chair Vacant The Miriam & Bernard Yenkin Chair OBOES Donna Conaty, principal The Lee Shackelford Chair Vacant The Artie & Alisa Isaac Chair CLARINETS Ilya Shterenberg, principal The Beth Grimes-Flood & Tom Flood Chair Jennifer Magistrelli The Robert T. Bennett Chair BASSOONS Ellen Connors, principal The Loann W. Crane 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

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TIMPANI & PERCUSSION RenĂŠe 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 Jessica Smithorn oboe Michele Fiala oboe Scott Strong horn Fritz Foss horn Everett Burns horn Julian Maddox violin Yael Senamaud viola Fred Bretschger bass ORCHESTRA MANAGER Mariana Szalaj The Regie & David Powell Chair **Begins the alphabetical listing of string players who participate in a system of rotated seating. 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 Night Vadim Gluzman, violin & leader

Southern Theatre // Sunday, October 13 // 7:00 pm

BEETHOVEN/arr. MAHLER

String Quartet No. 11 in F minor, Op. 95, “Serioso” I. Allegro con brio II. Allegretto ma non troppo III. Allegro vivace assai ma serioso IV. Larghetto espressivo

MOZART

Violin Concerto No. 4 in D major, K. 218 I. Allegro II. Andante cantabile III. Rondeau (Andante grazioso – Allegro ma non troppo) Vadim Gluzman, violin & leader

Intermission

Intermission lasts 15 minutes VASKS

Musica serena

MOZART

Symphony No. 25 in G minor, K. 183 I. Allegro con brio II. Andante III. Menuetto & Trio IV. Allegro The Opening Night champagne toast is generously provided by Diamond Hill Capital Management.

Stay for Coda: Post-Concert Conversation. Meet Vadim Gluzman and learn more about tonight’s program. 2019-20 SEASON | promusicacolumbus.org

About the Music October The Jon Mac Anderson Program Notes underwritten by Porter, Wright, Morris and Arthur, LLP

ProMusica opens its new season with the composer with whom we closed the last— Beethoven—as we present one of his most dramatic string quartets in a version for strings by Gustav Mahler. We also feature two works by Mozart, his charming and youthful Fourth Violin Concerto, featuring our creative partner, Vadim Gluzman, and the dramatic Symphony No. 25. One more gem for strings makes the concert complete—the deeply moving Musica serena by the Latvian composer Pēteris Vasks.

LUDWIG VAN BEETHOVEN (1770-1827): STRING QUARTET NO. 11 IN F MINOR, OP. 95, "SERIOSO" Instrumentation: transcribed for string orchestra by Gustav Mahler Composed: 1897-98 Premiere: Vienna Philharmonic, January 15, 1899 Duration: 22 minutes

THE SCOOP: The year 1810 was not a particularly productive one for Ludwig van Beethoven, though he was very active musically, seeing to publications of his ﬁnished scores. The reason(s) for this slack in composition is not entirely clear. It may be related to the rejection of a marriage proposal to Therese Malfatti, to whom he presented his now famous Für Elise piano piece, no doubt with a stab to his heart. The year did witness, however, the completed incidental music to Goethe’s Egmont, premiered that June, and the String Quartet Op. 95 (though it should be noted that historians have cast doubts about the date, as the quartet is written on manuscript paper inconsistent with that period).

Given the serious nature of nearly everything Beethoven composed, the name “Serioso” may seem a bit curious. It is, however, the only “nickname” Beethoven personally bestowed to any of his string quartets and beyond referring to the third movement—marked Allegro assai vivace ma serioso—the title is certainly fitting. Beethoven himself understood the challenges of his score and wrote that it was intended for “a small circle of connoisseurs” and was “never to be performed in public.” And while it is closer in date to the three magisterial “Razumovsky” Quartets of the so-called “middle period,” the essence of the F minor has far more in common with the challenging “late” quartets, still more than a decade into the future. We sense just how “serious” this music is from the explosive opening unison statement, an intimidating, violent outburst that is followed by large violin leaps and a series of extreme dynamics, all fingerprints of a mature Beethoven who is grappling with intense musical and emotional issues. This is not to say that everything is set out with maximum power… to the contrary, Beethoven soon follows this with intensely passionate phrases. In short, Beethoven has reached a point in his style where characters change on a dime, allowing for maximum expression within the smallest amount of time. Indeed, the quartet as a whole, despite the punch it packs, is the shortest he ever wrote, coming in at just around twenty minutes. The sonata-form first movement is followed by what at first appears a relaxed and simple Allegretto, which opens with a gentle descending cello scale and a poignant melody in the violins. Soon enough, however, we find ourselves swimming in darker, unsettling waters, due to abrupt changes of key and austere contrapuntal writing. Might such rawness have had anything to do with Beethoven’s recently failed attempt at love? Another descending cello scale and the mysterious middle portion is but a memory. Rather than bring the movement to a full conclusion, Beethoven inserts a fermata (temporary hold) before plunging into the Allegro assai vivace ma serioso, whose initial restless quality—driven forward by its short-short-long rhythmic motive—recalls the explosiveness of the first movement. This gives way to a second section offering much-needed contrast of absolute restraint and beauty. The movement takes the form of a number of Beethoven’s mature scherzos, that is, A-B-A-B-A+ coda, but we should keep the “Serioso” nature in mind. The clipped coda seems to say all we need to know.

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Beethoven’s ﬁnale opens mysteriously with an expressive Larghetto introduction whose clipped gestures seem to cry out with anguish, again Beethoven at his most intense. The Allegretto agitato that follows has something of the thrust common to the music of Egmont from earlier in the year, including driving inner voices and an impassioned second theme. Pay attention to the sforzando accents Beethoven applies to weak beats, creating an unsettling atmosphere. For reasons not entirely clear, the composer concluded the work with a rather lighthearted, almost Italianate coda. Certainly, given the emotional breadth of the rest of the score, the conclusion has drawn its share of criticism, including Vincent D’Indy’s assessment that “one might imagine some light Rossinian ﬁnale had strayed into this atmosphere of sustained beauty, and we think that no interpretation could palliate this error of a genius.” The version for string orchestra heard tonight was one of three quartets Gustav Mahler transcribed during his early years as head of the Vienna Philharmonic. Whereas many in Beethoven’s day were unable to comprehend his late style, by the time Mahler came to town decades later, the Viennese had embraced Beethoven as their own and Mahler’s tampering with the master’s music nearly brought the roof down on the performance. As it so happened, other than adding a bass part here and there and, of course, enlarging the forces, Mahler remained faithful to Beethoven’s score, but the 1899 premiere was met by so much booing that Mahler evidently sent several musicians into the hall to quiet the rabble-rousers. Mahler never programmed his transcription again.

WOLFGANG AMADEUS MOZART (1756-1791): VIOLIN CONCERTO NO. 4 IN D MAJOR, K. 218

Instrumentation: two oboes, two horns and strings Composed: 1775 Premiere: unknown but likely shortly after its composition Duration: 26 minutes

THE SCOOP: Mozart’s fascination with the violin started early, perhaps even before he was aware, a result of his father Leopold being a violin teacher and performer in Salzburg. The fact that Leopold also wrote a highly successful treatise about how to play the instrument literally put at Wolfgang’s ﬁngertips as much information about how to play the instrument as a budding violinist could want. The rest he would learn on the road, when his father took him on tours and where he encountered both the

Italian musical style and a host of violin performers, among them the fifteen-year-old prodigy Giovanni Battista Viotti. Yet despite his natural abilities on the instrument, which his father affirmed, Mozart was more strongly drawn to the piano. As he himself admitted, "When performing is necessary, I decidedly prefer the piano and I probably always shall." Leopold believed a greater career was to be built as a violinist but what child follows their parents’ advice? In the end, Mozart wrote five violin concertos, all products of a single year, 1775, when the composer was nineteen, while his love for the keyboard is evidenced by the twenty-seven concertos he wrote for that instrument. Mozart composed all his violin and piano concertos with the intent of playing them himself and in most cases he did. The solo part for the premiere of the Fourth Concerto, however, may have been lent to Giovan Brunetti, another violinist in the Salzburg court orchestra whom Mozart must have held in high esteem. Indeed, with the understanding that Brunetti had better fiddle chops, Mozart may have upped the technical ante in his concerto. Whatever the case, he later altered his opinion; when Brunetti quit his post, Mozart referred to the violinist as "that coarse and dirty Brunetti who is a disgrace to his master, to himself and to the whole orchestra,” making one wonder if Mozart came to regret having once “lent” the Italian his music. In many ways the Fourth Concerto is cut from the same cloth as the other four—all of them precede Mozart’s more mature works and as such demonstrate just how much Mozart learned from his tours to Italy and France. Cast in three movements, the concerto offers few surprises. Nevertheless, he already shows a great deal of sensitivity in establishing a balance between his forces and demonstrating genuine melodic flair. A few noteworthy details: following the military character of the orchestral introduction of the Allegro, listen for Mozart’s exploitation of his soloist’s string crossings— might this have been a nod to Brunetti’s technique? The second movement, marked Andante cantabile, is in the style of a pastoral whose singing lines, in the words of musicologist Alfred Einstein, are “like an imitation of an aria…in an opera buffa.” The finale is crafted in the style of a French Rondeau, a work of elegance and grace that banks back and forth between the grazioso (gracious) opening—the third iteration of which gives way to an interlude of sounds Mozart must have experienced in the Austrian countryside—and a more energetic, contrasting Allegro. Rather than playing a

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triumphant hand in the closing measures, Mozart instead opts for charm and grace, an apt demonstration that the nineteenyear-old already had the courage of his convictions.

PĒTERIS VASKS (B. 1946): MUSICA SERENA

Instrumentation: string orchestra Composed: 2015 Premiere: Finland, November 2015 Duration: 11 minutes

THE SCOOP: Born April 1946 in Aizpute, Latvia to a Baptist pastor, Pēteris Vasks began studying double bass and composition locally before moving on to larger schools in Riga and Vilnius. He eventually pursued an orchestral career as a member of various Latvian orchestras before turning his attention to teaching and composing, thereby gaining an international reputation. With time, Vasks developed a highly unique yet accessible musical idiom that is both folk-like and mystical, with perhaps a sense of spiritualism deprived from his upbringing. ProMusica audiences will remember the composer’s powerful Distant Light performed with Vadim Gluzman in 2018. Tonight, the strings of the orchestra bring you the composer’s hauntingly beautiful Musica Serena, a single-movement, elevenminute work composed in 2015 to honor the 70th birthday of Vasks' long-standing friend, Finnish conductor Juha Kanga. Constructed in arch form, the Andante cantabile opens with pianissimo violin harmonics that gradually melt into an achingly beautiful theme accompanied by string writing at its lushest. Gradually the music builds in intensity and volume, achieving Maestoso with the fortissimo at the work’s center, now marked Maestoso, legato (sustained) character of Vasks’ string writing remaining forever constant. Having achieved the utmost intensity, the music then subsides, turning back to the calm from whence it began. Shimmering tremolos give way to the crystal harmonics of the outset as the music fades away.

MOZART: SYMPHONY NO. 25 IN G MINOR, K. 183

Instrumentation: two oboes, two bassoons, four horns and strings Composed: 1773 Premiere: unknown Duration: 24 minutes

THE SCOOP: During the late 18th century German lands witnessed a period of artistic turmoil and unrest, brilliantly captured in the 1776 play Sturm und Drang (Storm and Stress) by dramatist and novelist Friedrich von Klinger, which ultimately presented the movement with its name. Goethe and Schiller were also swept up into the current, which often pitted the individual against the larger society and out of which the idea of the ‘artist as hero’ eventually emerged. Composers too were attracted to the emotional turbulence Sturm und Drang had to offer, whose characteristics they captured sonically with dramatic syncopations, pulsing rhythms, dark keys and unexpected shifts of character. All of these qualities are present at the start of Mozart’s turbulent Symphony No. 25, a work whose intensity and unrest set the tone for Miloš Forman's ﬁlm Amadeus. Although unsubstantiated, legend has it that Mozart dashed off his “little” G minor Symphony—the “little” contrasting with his larger, later Symphony No. 40 in the same brooding key—in a matter of two days, coming right on the heels of his Symphony 24. As opposed to many of the composer’s works, however, nothing is known of the circumstances that brought this work about, save that it is the product of a seventeenyear-old composer still living in his native Salzburg. What is clear, however, is that Mozart was very attuned to European trends. Haydn, with whom Mozart was to develop a strong relationship, had also tried his hand with the nervous energy of the Sturm und Drang and in fact, Mozart may have found inspiration in Haydn’s own Symphony No. 39 of the same key. Mozart’s G minor is constructed along the by now typical four-movement symphonic plan. The ﬁrst movement Allegro (sonata-form) opens with the agitated syncopations mentioned above, imbuing it with an undercurrent of intensity even present in the arching oboe melody that soon soars miraculously above everything else. The far

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gentler character of the Andante features the use of mutes, giving this slow movement an added sheen (its conclusion possesses one of Mozart’s most humorous endings). The Menuetto again plunges us into the haunting world of G minor. All that is left of the once-aristocratic dance is to be found in the central “trio” section; the guillotine would finish off the rest in a matter of years. The syncopated nervousness of the first movement returns in the dramatic Allegro finale, though here such rhythms are embedded more deeply into the texture than constructed of them. Listen for the unexpected shifts of key in the development, another clue to the work’s Sturm und Drang origins. Mozart’s no-nonsense ending brings this youthful yet emotionally charged score to a swift, unapologetic conclusion. © Marc Moskovitz www.marcmoskovitz.com

About the Program Notes Author

Marc Moskovitz In addition to his work as principal cellist of the ProMusica Chamber Orchestra, Marc Moskovitz collaborates frequently with various other ensembles, among them The North Carolina Symphony. A former Associate Professor of The University of Toledo, Marc has been heard at the Library of Congress and the International Piatti Festival (Bergamo, Italy), and has performed with the Boston Pops and the Handel and Haydn Society of Boston, with whom he has also recorded and toured. His recordings include music of cello virtuosi David Popper and Alfredo Piatti, available on the VAI label. As an author, Marc has contributed to The New Grove Dictionary of Music and Musicians, written liner notes for the Naxos and Melba labels, and his program notes have appeared in English, German, Spanish and Chinese. He is author of Alexander Zemlinsky: A Lyric Symphony (2010) and more recently, co-author of Beethoven’s Cello: Five Revolutionary Sonatas and Their World, both published by Boydell & Brewer (UK). www.marcmoskovitz.com 2019-20 SEASON | promusicacolumbus.org

ProMusica’s

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

Music Director David Danzmayr’s initiative, our Composer/ Performer Project, has played a significant role in our broader goal to connect audiences to composers—not just masters of the past such as Beethoven and Mozart—but to the living musicians and artists of today. The entire life cycle of a new work is reflected: from creation, to development, to a premiere performance. This project is an effort to showcase today’s composers as not only creators of work, but soloists in their own right. While there was a time when this idea might not have seemed so novel (for example during the time that Mozart lived), ProMusica offers audiences a new and fresh perspective on living composers. The Composer/Performer Project launched in April of 2014 and has since featured Lera Auerbach, Huw Watkins, Joshua Roman, Conrad Tao, and Gabriela Montero. This season, we welcome three composer/performers to the Southern Theatre stage including Richard Scofano, Joshua Roman, and Caroline Shaw.

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November Guest Artist

Richard Scofano Photo: Brian Jones

A superlative master of the bandoneón, Richard Scofano was born in Paso de los Libres, Argentina. Descendant of three generations of bandoneón players, Scofano is considered one of today’s most important bandoneonists. Beyond his recognized stunning virtuosity at his instrument, Scofano is also an accomplished composer (creator of the New Chamamé), arranger, producer and musical director. He began his studies at the age of five, with his father Ricardo Scofano, a living legend in the Argentine musical genre of Chamamé. Scofano grew up in an environment surrounded by music and folkloric traditions and, thanks to the support of his family, quickly became an expert and an authority in both Chamamé and Tango. At the age of fifteen, he graduated as Master of Music. At eighteen, he was named the first bandoneonist at the Folkloric Orchestra of Corrientes. Scofano always nurtured interest for the music of neighboring countries Paraguay and Brazil, and is passionate about the study of European classical traditions. In 2015, he wrote the score for This is Tango Now’s production of Carmen de Buenos Aires, a 90-minute work inspired on the music of G. Bizet. In October 2016, Scofano premiered the first movement of his Concerto for Bandoneón and Orchestra, IBERÁ, with the Oistrakh Symphony Orchestra of Chicago under conductor Mina Zikri. At the same time, he released the CD ESTACIONES, with original compositions interpreted by Duo Scofano Minetti. On this recording, Scofano debuts his original style of ‘Nuevo Chamamé’.

With over thirty years of professional work, Scofano has taken his music literally throughout the world and is held in high esteem by fellow musicians and audiences alike. “Grandson of bandoneonist Pepito Scofano and son of Chamamé legend Ricardo Scofano, Richard grew up in the midst of it all. Richard's artistry is a testimony to Scofano’s mastering of the genre, to his musical craft, and to his ability to combine both through an exceptional creative genius, proposing a new way to present his traditional music. It is a demonstration of his unconditional love for the traditions celebrated in the rich history of the peoples, lands, and rivers who lent their hearts, souls, rhythms and cycles to the Chamamé.” - Alfredo Minetti “...in the presence of Richard Scofano’s talent, we feel that we are facing a pure experience, a tango with open veins… since he, with his bandoneón, doesn’t interpret the tango, he interprets the secret codes embedded in tango. Precisely because of that, I claim that Scofano is unique in the world.” - Prensa Recinto Universitário de Mayagüez, Puerto Rico

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FLUTES Vacant, principal The Dana Navin Schultz Chair Vacant The Miriam & Bernard Yenkin Chair OBOES Donna Conaty, principal The Lee Shackelford Chair Vacant The Artie & Alisa Isaac Chair CLARINETS Ilya Shterenberg, principal The Beth Grimes-Flood & Tom Flood Chair Jennifer Magistrelli The Robert T. Bennett Chair BASSOONS Ellen Connors, principal The Loann W. Crane 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 RenĂŠe Keller, principal The Michael & Jody Croley Jones Chair Rajesh Prasad The Bob Redfield & Mary Yerina Chair HARP Jeanne Norton, principal The Sustaining Board Chair

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HARPSICHORD Aya Hamada, principal The ProMusica Board Chair in memory of Ida Copenhaver ASSISTING MUSICIANS Nadine Hur flute MyungJu Yeo flute Alecia Lawyer oboe Jessica Smithorn oboe Kelsey Williams horn Eleni Georgiadis horn Bruce Henniss horn Justin Emerich trumpet Donna Parkes trombone Michael Charbel trombone Sebastian Bell trombone Ryan Behan piano Ling Ling Huang violin Yael Senamaud viola Courtenay Vandiver Pereira cello Fred Bretschger bass ORCHESTRA MANAGER Mariana Szalaj The Regie & David Powell Chair **Begins the alphabetical listing of string players who participate in a system of rotated seating. 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.

Schubert & Scofano Richard Scofano, bandonéon & composer

Southern Theatre // Saturday, November 2 // 5:30 PM Southern Theatre // Sunday, November 3 // 7:00 PM SCHUBERT

Symphony No. 8 in B minor, D. 759, “Unfinished” I. Allegro moderato II. Andante con moto

SCOFANO

IBERÁ Concerto for Bandoneón & Orchestra (U.S. Premiere) I. Rio Paraná II. Iberá III. Rio Uruguay Richard Scofano, bandoneón & composer

Intermission

Intermission lasts 15 minutes SCHUBERT

Symphony No. 3 in D major, D. 200 I. Adagio maestoso – Allegro con brio II. Allegretto III. Menuetto (Vivace) & Trio IV. Presto vivace

Richard Scofano's appearance is made possible by John F. Brownley.

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

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About the Music November The Jon Mac Anderson Program Notes underwritten by Porter, Wright, Morris and Arthur, LLP

Tonight’s concert is bookended by two Schubert symphonies, the “Unfinished”, whose soaring melodies and novel orchestral colors paved the way to the romantic symphonic tradition, and the composer’s Third, a brilliant youthful work brimming with a young man’s zest for life. In between we will step over to Argentina and the world of the bandoneón—an instrument made famous by Astor Piazzolla—as Richard Scofano presents the U.S. premiere of his Iberá Concerto for Bandoneón and Orchestra.

FRANZ SCHUBERT (1797-1828): SYMPHONY NO. 8 IN B MINOR, D. 759, “UNFINISHED”

Instrumentation: pairs of flutes, oboes, clarinets, bassoons, trumpets and horns, three trombones, timpani and strings Composed: 1822 Premiere: the two completed movements were first premiered December 17, 1865 in Vienna Duration: 25 minutes THE SCOOP: Few works in the symphonic literature have evoked as much mystery as Schubert’s “Unﬁnished” Symphony. One romantic theory states that, having dispatched two miraculous movements, Schubert simply felt he could never follow these up with more music that would rise to the same level. A ridiculous notion, given that Schubert lived another six years, during which time he dispatched some of his greatest works. There remain other possibilities, of course, such as his having turned his attention to other compositional pursuits or been distracted on account of the composer’s developing case of syphilis. What we know for sure is that work on the B minor Symphony progressed during the year 1822, a period marking the start of his real musical maturity. The previous year, having long labored for recognition within Vienna’s musical community, Schubert was ﬁnally granted admission into the Gesellschaft

Der Musikfreunde, The Society for the Friends of Music of Vienna, one of Europe’s foremost societies dedicated to musical performance. This meant his music could be performed by professional players and garner official reviews. For Schubert that also meant acceptance and publicity; in fact, the following year he was granted an honorary diploma from the Graz Music Society. In gratitude, he sent the Society the two completed movements of the B minor Symphony, though whether the music was initially composed for Graz or was simply something that lay completed on his writing table also remains a question. Regardless of the circumstances, what the Graz organization received marked in some ways the start of the Romantic music tradition. In the hands of the great three composers associated with Viennese classicism, Haydn, Mozart and Beethoven (none of whom, unlike Schubert, were actually from Vienna), the violins typically carried the bulk of melodic material. There were exceptions of course (the start of Beethoven’s “Eroica” comes to mind), but such was the nature of orchestral writing as inherited from Italy and developed further in Austria. Schubert by and large also rejected his predecessors’ infatuation with small developing motives in favor of long-spun melodies, which he then reassigns to various instruments to exploit their potential for colors. This latter characteristic would prove one of the hallmarks of romanticism (think Tchaikovsky and Rachmaninoff, for instance) and even the dramatic passages are constructed along a longer arch, as opposed the tight-knit explosiveness, violence, and shock value Beethoven drew from tight motives. We can almost hear the approach to the symphony orchestra change within the Allegro moderato’s opening bars, as the hushed principal theme is ushered in by the celli and bassi alone. Only after a completed statement do the violins enter, albeit with a stirring accompaniment as opposed to melodic material. The second theme, a recognizable famous melody, will again be given over to the celli. In other words, Schubert is looking for new types of sounds, rather than simply assigning his material de facto to the fiddles as even he had done in his earlier symphonies. The sonata-form first movement is followed by a sonatina, that is, sonata form minus the development section at its center. Again, we hear Schubert’s search for warmth in the Andante con moto, with a beautiful use of horns, clarinets and celli; even so, his accompaniments are equally breathtaking (keep in mind Schubert as song composer, which accounts for his penchant for melody and suitable accompaniment).

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Several years ago, ProMusica offered up a possible conclusion to the “Unfinished” though will probably never know if Schubert had a definite plan for two more movements along the traditional four-movement symphonic scheme or if he simply figured the majesty of what he had written was enough. We might lament what we “lack,” yet how fortunate we are to have these two glorious symphonic movements, perfect in every way. By the time we reach the closing bars of the Andante, we are completely fulfilled musically, and Schubert too must have known this. So, while it’s true that Schubert certainly could and would have followed his Andante with something equally as miraculous, there really wasn’t anything more to say.

FROM THE COMPOSER RICHARD SCOFANO (B. 1976): IBERÁ CONCERTO FOR BANDONEÓN & ORCHESTRA

Instrumentation: pairs of flutes, oboes, clarinets, and bassoons, four horns, timpani, piano and strings Composed: 2016 Premiere: first movement, Oistrakh Symphony Orchestra of Chicago, October 2016, with performer as soloist Duration: 25 minutes

THE SCOOP: Iberá in Guaraní means ‘bright waters,’ a reference to one of the most important and beautiful wetlands in the world, located in the province of Corrientes, Northeastern Argentina, a province at the crossroads of Paraguay, Brazil and Uruguay. This concerto is inspired by the Iberá, by its gorgeous flora and fauna, and celebrates the impact of these wetlands in the cultural richness of Corrientes. Perhaps the strongest of all cultural influences in this piece comes from the Chamamé, also a regional phenomenon, but this one created by the local peoples. Very much like the Iberá, the chamamé is many things at once: a folk genre…music, dance, song, and singing...it is faith, beliefs, myths, and values...symbols and language...it is food, wine, and friendship...it is the Paraná and the Uruguay rivers with their lonely fishermen...it is the Guaraní culture as embodied by the ones who settled in those ancient lands... it is the Sapucai, the cry that expresses so many feelings and emotions, the cry that summons one’s duende, and communicates so many feelings and nostalgia. To me the water stands for life and it generates lives and cultural traditions that are immensely influenced by them. By the standing waters of the lagoons and the running waters of

the rivers. The rivers are the natural carriers of peoples and cultures. To me, the ﬁrst movement, Paraná, relates to my province of Corrientes. It is calm and majestic on the surface, but underneath it is in constant movement from its powerful and uncontrollable currents. It is peaceful, romantic, powerful and dramatic at once. The second movement, the Iberá, represents nature at its most spectacular, calm, mysterious, but also nostalgic. It brings in a sense of the immensity and power of nature before our small human preoccupations and priorities. A sense that we are a part of something of incommensurate proportions, of something incredibly big and full of creative energy. Finally, the third movement, the Rio Uruguay, represents the border, the boundary, the sisterhood and fraternity between my region and Brazil and Uruguay, it means freedom with the contagious sense of groove that you get as you cross into those lands. I like to think of the Iberá as a whole pretty much as an impression, a sonorous picture of those regions, its nature and its people and their mutual and constant interactions.

FRANZ SCHUBERT: SYMPHONY NO. 3 IN D MAJOR, D. 200

Instrumentation: pairs of flutes, oboes, clarinets, bassoons, trumpets and horns, timpani and strings Composed: between May 24 and July 19, 1815 Premiere: February 19, 1881 in London Duration: 26 minutes THE SCOOP: It is tempting to ascribe biographical content to the music of many composers, including Schubert’s Third Symphony. Such connections are often valid, as is the case, for example, with Beethoven’s Sixth Symphony, which really does capture the composer’s passion for the out-of-doors. Listening to Schubert’s D major, one senses a composer in the ﬂush of youth, thrillingly in command of his material. Even the moments where darkness threatens—including the closing bars of the introduction’s two large phrases—are quickly dispelled. Yet despite its prevailingly joyful mood, the symphony was crafted during what turns out to have been a rather trying period for the eighteen-year-old composer. In 1815, Schubert was enduring the drudgery of teaching at a school run by his father and was unable to gain either work as a composer or the hand of a girl he wanted to marry, the latter on account of his inability to support a family. Still, in much of his music from the period, and in this symphony in particular, one senses the unbridled exhilaration, or at least the ease Schubert experienced when pen met paper. Despite such frustrations, 1815 proved the most proliﬁc year

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of Schubert’s brief life—20,000 bars of music, including 140 songs, nine church compositions and this symphony were the result. Albert Stadler, a former schoolmate, once described the composer’s work habits: “Completely calm and barely disconcerted by the inevitable chatter and clamor of his fellow seminarists, he sat at his little desk…and went on writing lightly and fluently, with few corrections, as though it were the most natural thing in the world.” Stadler’s observations were dead on—composing for Schubert was akin to breathing, and though matters didn’t always proceed so efficiently, such was certainly the case with the 3rd Symphony, the manuscript of which betrays strikingly few signs of struggle. Schubert’s slow introduction contains the seeds of what later came to full bloom. Take note not only of the colorful use of winds but of two motifs—the quick, upward scale and the twonote falling motif heard in the wind accompaniment; both are seemingly inconsequential ideas that will return time and again. As mentioned, Schubert’s introduction twice hints at trouble but the clarinet’s playful theme that opens the Allegro con brio at once puts any mock seriousness to rest. Schubert now seizes upon the introduction’s falling motif, its two notes establishing themselves as the essence of both melody and the oboe/horn response. An upward scale follows, ushering in a fortissimo statement scored for the entire orchestra. On the heels of the grand pause comes another playful theme, this one presented by the oboe and containing an important rhythmic figure that will all but take over the development section. The architecture of this sonata-form movement, including the repeat of the exposition/opening of the development, is easily followed on account of the dramatic orchestral chords but two more ideas may be worth pointing out. First, listen how Schubert begins to obsess with the oboe’s dotted rhythm; taken over by the celli and bass, this motif drives the development forward. Second, note how Schubert launches into another development of sorts following the clarinet’s restatement of its melody (marking the recapitulation). While further development late in a movement was not uncommon for Beethoven, this is highly unusual territory for Schubert, offering firm evidence that he was looking to Vienna’s elder musical statesman for inspiration. Schubert’s original intent was to follow his Allegro with an Adagio—the manuscript shows a few bars of a broad violin melody—but he rejected the idea in favor of a faster moving Allegretto that proved to be a perfect jewel. This charming G major movement is constructed in A-B-A form. Its opening flirtatious violin melody is answered by the flute and offset by a sparkling tune presented by the clarinet that offers more hints of the Schubert yet to come (in particular the song Die

Forelle, Forelle “The Trout,” which in turn would form the basis of one of the composer’s great contributions to the world of chamber music). Schubert asks that his engaging Menuetto be played Vivace (brisk/lively), a clue that the fast-paced minuets of Haydn and Beethoven were making their mark on the younger composer. In this case Schubert places strong accents on the third beat of the bar, a humorous gesture that turns the former aristocratic dance into something reflective of the countryside which at the time remained relatively close to central Vienna. The composer crafted the requisite Trio as a folksy Ländler and even its flavorful oboe-bassoon scoring suggests the peasant-like atmosphere of this Austrian country-dance. The finale vaults out of the gate at a Presto-vivace clip, its swift 6/8 meter propelled by a galloping motif that turns the opening violin line back on itself. Like Mendelssohn’s familiar “Italian” symphony finale, Schubert employs a tripping tarantella rhythm (though of course Mendelssohn’s music was still another three decades into the future). In the meantime, an eighteen-year-old Schubert, pen and staff paper in hand, sits in Europe’s musical capital, ideas flowing as quickly as the ink. This music is not about themes and contrast. Rather, it is a movement about movement, Schubert delivering breathless verve and exuberance from an almost singular idea. The score’s drama lies in its harmonic motion. Quick tempo notwithstanding, the chords outlined by Schubert’s bass line change slowly. Schubert also capitalizes on dynamics—from its pianissimo opening, the movement reaches fortissimo by bar 17, using only three different notes in the bass! Sixteen more bars, only two more bass note changes, and we’re back to our tonal center, D Major. And so on, all the while, the persistent galloping of eighth notes drives the music ever onward. Whether or not Schubert had a program in mind for this finale, it conjures images of horse and rider urged incessantly on. The notes cascade ahead, driving toward Schubert’s inevitable closing chords. By the time he scratched in his double bar, bringing the symphony to a close, Schubert had dispatched one of the most spirited scores he would ever deliver. Sadly, the Third Symphony suffered the same fate as did much of Schubert’s work—it was never performed professionally during his lifetime. Nor was it even heard in its entirety until August Manns, a friend of the great Schubert scholar George Grove, led the work in London’s Crystal Palace in 1881.

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Meet the Musicians

Katherine McLin

Rebecca Willie

concertmaster, 20 years The Donald G. Dunn Chair Current Residence: Phoenix, AZ

assistant concertmaster, 5 years The Hillsdale Fund Chair Current Residence: Greensboro, NC

Amy Cave

Robert Gillespie

violin, 5 years The Randy & Marilyn Miller Chair Current Residence: Cleveland, OH

Heather Kufchak

violin, 9 years The Deborah Raita Chair Current Residence: Columbus, OH

violin, 37 years The Wilson Family Chair Current Residence: Hilliard, OH

Solomon Liang

violin, 1 year The Laurie & Thomas W. Hill Chair Current Residence: Cleveland Heights, OH

Jennifer Ross

principal second, 2 years The Joan M. Herbers Chair Current Residence: Jackson, WY

Eric Kline

violin, 8 years The Jim & Ida Copenhaver Ginter Chair Current Residence: Pickerington, OH

William Manley

violin, 14 years The Fran Luckoff Chair Current Residence: Columbus, OH

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

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violin, 5 years The Dyann & E. Joel Wesp Chair Current Residence: Chicago, IL

Koko Watanabe

violin, 2 years The Elizabeth Williams Chair Current Residence: Cleveland Heights, OH

Michael Isaac Strauss

viola, 4 years The Anne Powell Riley Chair Current Residence: Oberlin, OH

Joel Becktell

cello, 11 years The Donna K. Laidlaw Chair Current Residence: Albuquerque, NM

Ilya Shterenberg

principal clarinet, 2 years The Beth Grimes-Flood & Tom Flood Chair Current Residence: San Antonio, TX

Mary Harris

Brett Allen

Stephen Goist

principal viola, 24 years The Margaret & Jerome Cunningham Chair Current Residence: Oxford, OH

viola, 9 years The Jane Werum Chair Current Residence: Columbus, OH

viola, 5 years The Regie & David Powell Chair Current Residence: New York, NY

Marc Moskovitz

Cora Kuyvenhoven

Nathaniel Chaitkin

principal cello, 25 years The Barbara Trueman Chair Current Residence: Durham, NC

John Pellegrino

principal double bass, 8 years Current Residence: Columbus, OH

cello, 19 years The Bob & Mary Frances Restrepo Chair Current Residence: Columbus, OH

Patrick Bilanchone

double bass, 3 years The Kathryn D. Sullivan Chair Current Residence: Jacksonville, FL

cello, 12 years The William K. Laidlaw Chair Current Residence: Cincinnati, OH

Donna Conaty

principal oboe, 30 years The Lee Shackelford Chair Current Residence: San Diego, CA

Jennifer Magistrelli

clarinet, 8 years The Robert T. Bennett Chair 2019-20 SEASON | promusicacolumbus.org Current Residence: Richfield, OH

Ellen Connors

bassoon, 4 years The Carolyn Merry & Bob Redfield Chair Current Residence: Cincinnati, OH

Stephanie Blaha

Timothy Leasure

principal horn, 2 years The Todd S. Swatsler Chair Current Residence: Wadsworth, OH

RenĂŠe Keller

principal timpani and percussion, 6 years The Michael & Jody Croley Jones Chair Current Residence: Lima, OH

Jeanne Norton

Rachael Young

principal bassoon, 9 years The Loann W. Crane Chair Current Residence: St. Louis, MO

principal harp, 40 years The Sustaining Board Chair Current Residence: Columbus, OH

trumpet, 16 years The William & Wendy Faust Chair Current Residence: Pickerington, OH

Rajesh Prasad

percussion, 6 years The Bob Redfield & Mary Yerina Chair Current Residence: Raleigh, NC

Aya Hamada

principal harpsichord/keyboard, 15 years The ProMusica Board Chair Ida Copenhaver 2 0 1 9 - 2 0 S E in A Smemory O N | ofpromusicacolumbus.org Current Residence: New York, NY

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Learn more about David’s story and other Columbus artists and events at ColumbusMakesArt.com.

Additional support from: The Sol Morton and Dorothy Isaac, Rebecca J. Wickersham and Lewis K. Osborne funds at The Columbus Foundation.

SUPPORTING ART. ADVANCING CULTURE. Artist and cultural organization grants and resources.

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Photo: Rick Buchanan | Design: Formation Studio

I am an orchestra conductor. My work begins far before anybody sees me on stage. I have learned that I need to dig deep into a piece to discover real meaning— it is like digging with your hands in the mud to find a little piece of gold. What inspires me most about Columbus is that the people of Columbus really try to make this city the best it can be. Because of this spirit there is a real buzz now in Columbus surrounding the arts. How cool is that? I’m David Danzmayr, music is my art and there’s no place I’d rather make it.

2018-2019 Annual Fund Contributors ProMusica Chamber Orchestra is grateful for our donors whose commitment and investment supports ProMusica in its mission to inspire people of all ages with world-class musical performances and outstanding educational programs. This generosity makes it possible for the innovative and diverse programming of performances, community outreach, events, and educational projects for which ProMusica is known. We sincerely thank the following contributors for their generous gifts of $100 or more to our 2018-2019 season. Please consider making a tax-deductible contribution for ProMusica’s 2019-2020 Annual Fund Campaign 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 Margaret and Jerome Cunningham Donald G. Dunn Joan Herbers Kathryn Sullivan Todd Swatsler Barbara Trueman Anonymous Support from Foundations & Public Agency Funds American Electric Power Cardinal Health Foundation Leo J. Marks Fund and Kenneth L. Coe and Jack Barrow Fund of The Columbus Foundation The Crane Family Foundation DGD Group E. Nakamichi Foundation The Fox Foundation Greater Columbus Arts Council The Hillsdale Fund Ingram-White Castle Foundation Key Bank L Brands Nationwide Ohio Arts Council ProMusica Sustaining Board The Reinberger Foundation The Shackelford Family Fund of The Columbus Foundation The Siemer Family Foundation

ENCORE $5,000 - $9,999 Gifts from Individuals George Barrett John F. Brownley Beth Grimes-Flood and Tom Flood Ida Copenhaver and Jim Ginter Jody Croley Jones and Mike Jones Donna Laidlaw Renee K. and George M. Levine Fund of The Columbus Foundation Deborah Neimeth Anne Powell Riley Regie and David Powell The Quintenz Family Mary Yerina and Bob Redfield Mary Frances and Bob Restrepo Dana Navin Schultz and Hugh Schultz Stephanie and Grant Stephenson

The Artie and Alisa Isaac Fund of The Columbus Foundation Suzanne Karpus The Mary and Robert Lazarus Fund of The Columbus Foundation Helen Liebman and Tom Battenberg Fran Luckoff Marilyn and Randy Miller Deborah Raita Jane Werum Dyann and Joel Wesp Elizabeth Williams Anonymous

Support from Corporations, Foundations & Public Agency Funds The Columbus Foundation – “5 Nonprofits to Watch” Award The Hattie and Robert Lazarus Fund of The Columbus Foundation

SPECIAL GIFTS In Honor of Janet Chen The Michael and Paige Crane Fund of The Columbus Foundation

SYMPHONY $3,000 - $4,999 Gifts from Individuals Rose Marie Bennett Denise and Barry Blank Lauren Bonfield and Stephen Keyes Wendy and Bill Faust Sylvia Goldberg Laurie and Thomas Hill Annjia Hsu and David Chan 2019-20 SEASON | promusicacolumbus.org

Support from Corporations & Foundations The Ann and Gordon Getty Foundation Porter, Wright, Morris & Arthur, LLP Susan Scherer Charitable Foundation

In Honor of Pat Garavito Cardinal Health CONCERTO $2,000 - $2,999 Gifts from Individuals Lavea Brachman and Andrew O. Smith The G. Britton and Carol Durell Family Fund of The Columbus Foundation Mary and Steve Burkey Peter and Jayne Wenner Costanza

Lynn Elliott Pat and Darla Garavito Marty Johnson and John Gerhold Megan and John Gilligan Dara and Mark Gillis Susan Johnson Susan and Barry Lubow Drs. Bill Mitchell and Wayne Lawson Susan and Ken Quintenz David Schooler Tydvil Thomas Support from Corporations & Foundations The English Family Foundation The Puffin Foundation West SPECIAL GIFTS In Memory of Allene N. Gilman The Allene N. Gilman Charitable Trust In Memory of Frances Lazarus Peggy Lazarus RHAPSODY $1,000 - $1,999 Gifts from Individuals Sally and Roger Baughman Lynn and Paul Blower Barbara and David Brandt Catherine and John Brody Yvonne and Richard Burry Janet and Bob Castor Patt and Chuck DeRousie Keith Dufrane The David and Anne Durell Family Foundation of The Columbus Foundation Elizabeth and Jack Farrar Cornelia Ferguson Anne and Matthew Fornshell Judy Garel Katie and Jake Gibson Linda and Bill Habig Cindy Hafner Steven Hillyer Pamela Hussen and Patrick Vincent Margaret Malone Annegreth T. Nill and Bruce C. Posey Julie and Bob Rutter Elizabeth Sawyers Lynda and Doug Schockman Sallie Sherman Ann and Doug Teske

Miriam and Bernie Yenkin Anonymous Support from Corporations & Foundations Happy Chicken Farms â&#x20AC;&#x201C; Lackey Family Foundation The Hildreth Foundation Lewin Family/Hamilton Parker Foundation The Loft Violin Shop The Mattlin Foundation Yenkin-Majestic Industries Anonymous SPECIAL GIFTS In Honor of Dick Burry White Castle Systems, Inc. In Memory of George Corey Georgeann Corey In Memory of Pamela Romeo Elliott James Elliott SONATA $500 - $999 Gifts from Individuals Claudia and James Abrams Janet Armstrong and David Blau Jean Atwood and Michael Kirkman Julia and Milt Baughman Ellen Bowden Robert Byrd Julie and Bob Connors Jill and Ron Dean Bebe and John Finn Barbara and Gary Giller Melissa and Herb Hedden Adam and Rebbie Hill Brandy and Joshua Hill Marilyn and George Hoeflinger Patricia and Brent Jackson Kent Larsson Katherine and Yung-Chen Lu Elliott Luckoff Dorothea and Gerald Maloney Susan Meiling Panzer-Heitmeyer Fund of The Columbus Foundation Ruth and George Paulson Angela and John Petro Molly and Brian Snell Nancy Strause Colleen Nissl and Roger Sugarman 2 0 1 9 - 2 0 S E A S O N | promusicacolumbus.org

Nancy and Raymond Traub Mary and William Vorys Bette Wallach Fund for Columbus Lillian and Francis Webb Anonymous SPECIAL GIFTS In Memory of Zelda Derber Clara D. Bloomfield and Albert de la Chapelle In Honor of Charles & Patricia DeRousie Budros, Ruhlin & Roe, Inc. In Memory of Garth Essig, Sr. Carol Prince In Memory of Alfred Strickler The Strickler Family Fund of The Columbus Foundation OVERTURE $250 - $499 Gifts from Individuals Pamela and John Beeler Jane Blank Constance Bodiker Katherine Borst-Jones E. Leroy Bundy Earl Busenburg Trish and John Cadwallader Janet Chen and Rick Buchanan Beth Crane and Richard McKee Jerrie Cribb Betsy and Nick DeFusco Mary and James Fewless Mary Jo Green Brian, Sarah & Danielle Hall Gayle and Vincent Herried Kay Huebner Rose Hume Fern Hunt Susan and Matt Karis Jeffrey Kipnis Chris Knisely and David McCoy Joyce and Willem Kogeler Susan and Douglas Levin Lisa and Michael Maggard Mary Pat Martin and Rick Livingston Christine Merritt The Dixie Sayre Miller Fund of The Columbus Foundation Karen and Neil Moss Sue Porter and Mike Sayre

Cordelia Robinson Linda Roomann and William Slutz Susan Rosenstock Patrick Ross Lenore Schottenstein Stacie and Mark Sholl Kitty and James Soldano Robert Wing The Yaffe/Stump Family Foundation of The Columbus Foundation Leslie Yenkin and Jonathan Petuchowski Fred Zacharias Anonymous SPECIAL GIFTS In Honor of Lavea Brachman Judith and Merom Brachman In Memory of John Picken: Mary Picken PRELUDE $100 - $249 Gifts from Individuals Diane and Ted Armbruster George and Vanessa Arnold Marjorie Bagley Dorothy Beehner Karen and Les Benedict Suzy and Adam Biehl Ted Blain Linda and Saul Blumenthal Byron and Joann Bossenbroek Henry Brecher Herbert Bresler Marjorie and John Burnham Marilee Chinnici-Zuercher Carol Ann Clark Bonita Covel Christina and Dan Crane Eugene Dahnke Carol and Jim Davis John Deliman Gerri Doebelin Lindsey and Kevin Dunleavy Virginia and Wade Duym Julie and Jeff Ellis Joanne Figge Judy and Ted Fisher Garold Flach Mabel Freeman Lynn Friedman Kay Fuller Gladys Geankopulos

Laura and Eric Geil Nick and Debbie Geldis Carole and Nelson Genshaft Barbara Glover Don Good David Guion Michele and Steve Gurevitz Ruth Guzner Lydia Hadley Hartzler Pianos Carol and Fred Hofer Deborah and Douglas King Gale and Steve Klayman Morgan and Jason Knapp Matthew Kurk and Nicole Kessler Barbara and David Lambert Carol and Lynn Larimer Eileen Lee and Raymond Hsieh Martha Lentz Syd Lifshin Elizabeth Marsh and Ralph LeVan Ruth and Dan Martin Jane McMaster Judy Michaelson Linda Miller Mark Miller Elizabeth and James Miner Marc Moskovitz Maureen Mugavin and Michael Fiske Larry and Peg Neal Gilbert Nestel Marilyn and Robert Nims David Patton John Pellegrino Sue and Howard Petricoff Sandra and Howard Pritz Susan Restrepo and Patrick Schlembach Sandra and Bryant Riley Rebecca Roeder and Steve Bigley Sharon Sachs and Donn Vickers Lyle Saylor Paulette Schmidt Stacie and Mark Sholl Amina Smajlovic Rose and Ronald Solomon David and Laurence Spurlock Ginny Stein and Michael Lockman Sadie and Seyman Stern Susan and King Stumpp Thomas Szykowny Deborah Urton Robin Vachon Gail Walter and Allen Proctor

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Betsy and Charles Warner Bernice and Chuck White Jill Whitworth Margie and Thomas Williams Anonymous SPECIAL GIFTS In Memory of Laurel & John Fosness Nancy Elam This list includes contributions made to ProMusica for the period of July 1, 2018 to June 30, 2019. 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.

2019 Soirée Sponsors and Patrons Please help us thank the following corporations and individuals for their generous support of our 40th season benefit and concert. GOLD SPONSORS Abercrombie & Fitch BakerHostetler Cardinal Health Foundation The COR Group of UBS Financial Services Barbara K. Fergus Fifth Third Bank Joan Herbers Huntington Bank Ice Miller LLP Jim and Ida Jones Day Porter, Wright, Morris & Arthur LLP Bob and Mary Frances Restrepo Lee Shackelford treetree Vorys, Sater, Seymour and Pease LLP The Westin Great Southern Columbus SILVER SPONSORS Crane Group Kegler, Brown, Hill & Ritter PNC Bank Diamond Hill Ologie Lucy Seabrook and Brian Deas BRONZE SPONSORS Claudia and Jim Abrams Janet Chen and Rick Buchanan Christopher Culley Fector Advertising Susan and Matt Kairis Steve Keyes and Lauren Bonfield Oles & Associates Morgan Stanley – The Capitol Group at Morgan Stanley MEDIA SPONSOR WOSU Classical 101

GOLD PATRONS Lavea Brachman and Andrew O. Smith Marilyn and Martin Campbell Donald Dunn Lynn Elliott Megan and John Gilligan Jim Ginter Jody Croley Jones and Michael Jones Douglas and Monica Kridler Peggy Lazarus Nancy Marzella Jane and Robert McMaster Anne and Bill Porter Susan and Ken Quintenz Bob Redfield and Mary Yerina Lee Shackelford Kathryn Sullivan Todd Swatsler Miriam and Bernie Yenkin SILVER PATRONS Yvonne and Richard Burry Georgeann Corey Mindy and Mark Corna Drs. Stephen and Ellen Douglas Jim Elliott and John Behal Beth Grimes-Flood and Tom Flood Irvin Public Relations George Knight Dona Lantz Eric Luckingbeal Marilyn and Randy Miller Joseph and Cortney Pickens Lee Shackelford Gifford Weary Jayne Wenner and Peter Costanza BRONZE PATRONS Drew Boyer Donna Cavell Jill and Ron Dean Ann DiMarco Thomas and Melinda Donne Carol Hershey Durrell and John Erjavec Marilu and Tim Faber

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Elizabeth Turrell Farrar Michael Fiske and Maureen Mugavin Nader Gemayel Robert Hamilton Krista Hazen Joan Herbers Steven Hillyer and Thomas O’Reilly Melissa and Frank Ingwersen Tom and Mary Katzenmeyer Brian Leist Helen Liebman and Tom Battenberg Jennifer Markovich Mary Pat Martin and Rick Livingston Deborah Norris Matthews Lisa Miller and Elton Lee James Reardon Julie and Bob Rutter Rick Ruud and Barbara Place Lee Shackelford Mark and Stacie Sholl David Tweet DONATION Kathleen Miller INKIND DONATIONS Mary Pat Martin Rose Bredl Flowers & Gifts RAFFLE PRIZE DONATIONS American Electric Power Charles Penzone Salons The Easton Community Foundation Heritage Hotels and Resorts, Inc. Laurie and Tom Hill The Hilton Downtown Columbus Michael Jones and Great River Organics ProMusica Chamber Orchestra Board of Trustees The Refectory Restaurant & Bistro Susan Restrepo The Santa Fe Chamber Music Festival The Santa Fe Desert Chorale The Santa Fe Opera The Seasoned Farmhouse Together & Company

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 2018-2019 giving year (July 1, 2018– June 30, 2019). In Memory of Jon “Mac” Anderson Mark F. Harris In Memory of Christine Gilbert Susan and Ken Quintenz Elizabeth Williams In Honor of Marty and Marilyn Campbell Elizabeth Williams In Memory of Lorraine Carlat Louis Carlat In Honor of Donna Conaty Robert Szykowny In Memory of Chuck Conn Elizabeth Clark In Memory of Ida Copenhaver Joseph and Carol Alutto Eric and Sandra Berkowitz Helen and William Bickell Allan and Katherine H. Burkman Trish and John Cadwallader Marilyn and Martin Campbell Janet Chen and Rick Buchanan Georgeann Corey Margaret and Jerome Cunningham Diane Driessen and Ron Currin Elfi Di Bella John Easton Max and Pam Felton Bebe and John Finn Meg and Mike Flack Beth Grimes-Flood and Tom Flood John Frazer Mabel Freeman Sue and James Gross Laurie and Thomas Hill Junior League of Columbus, Inc. Debora and Ira Kane Tom and Mary Katzenmeyer Denise Franz King Matthew Kurk and Nicole Kessler

Katie Kuvin Peggy Lazarus Judith Leach Susan and Douglas Levin Linda Levy Roy and Deborah Lewicki Helen Liebman and Tom Battenberg Carol McGuire Margaret and Larry Neal Sally and Jon Nesbitt Ohio History Connection Board of Trustees The Ohio State University, Fisher College of Business Parasol Homeowners Association, Inc. Paul Werth Associates, Inc. Ruth and George Paulson Jill Kiley and WIlliam Pease Mary Picken R. L. and Barbara Richards Rosanne and Mark Rosen Martin and Terri Schwalbe Erica Scurr Thekla R. Shackelford John Shepherd Hurlden Simpkins Marilyn R. Smith Brian and Molly Snell Barbara Sobala Stephanie and Grant Stephenson Judi and James Stillwell Nancy Strause Elizabeth Tracy Judy Watson Lillian and Francis Webb Dyann and Joel Wesp Margie and Thomas Williams Kathy Wolfgram

The ProMusica Board Chair in Memory of Ida Copenhaver Claudia and Jim Abrams Stephen Keyes and Lauren Bonfield Lavea Brachman and Andrew O. Smith Lynn Elliott Elizabeth and Jack Farrar Matthew and Anne Fornshell Pat and Darla Garavito Brian, Sarah & Danielle Hall Laurie and Thomas Hill Brent and Patricia Jackson Susan and Matt Karis Susan and Barry Lubow Susan and Ken Quintenz Bob Redfield and Mary Yerina Bob and Mary Frances Restrepo Julie and Bob Rutter Lee Shackelford Mark and Stacie Sholl Kathryn Sullivan Todd Swatsler In Memory of Eugene Dahnke Janet and Roger Chase In Honor of Donald Dunn Julia and Milt Baughman Sue and James Gross Rhonda and Michael Murnane Elizabeth Williams Jaroncyk and Massie Families

In Honor of Susan Quintenz David Schooler Elizabeth Williams In Memory of Joyce Shisler The Shisler and Bonaccorso Families In Honor of Stephanie Stephenson Ann and Rick Theders In Honor of Frances Webb Diana Forrest In Honor of Margaret Wells Martha Lentz In Honor of Elizabeth Williams Susan and Ken Quintenz 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

In Honor of Lynn Elliott Michele and Steve Gurevitz In Memory of John Fosness Deborah Raita In Honor of Nancy Marzella Susan and Ken Quintenz In Honor of Mo and David Meuse Laurie and Thomas Hill

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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 2018-2019 school year.

INDIVIDUALS Deborah Anderson Louise Bishop Robert Byrd Amy Thompson and Stephen Fechtor Michael and Joy Gonsiorowski Laura Hansen Steven Hillyer Colleen Huckabee Susanne Jaffe Debora and Ira Kane Ursula and Wolfgang Kunze Barbara and David Lambert Martha Lentz Lewin Family/Hamilton Parker Foundation Helen Liebman and Tom Battenberg Syd Lifshin Mary McCafferty Sara Nekirk Cindy and Hans Poehlmann Susan and Ken Quintenz Kathleen Rowe Martha Tepper Carla Weiland

SUPPORT FROM CORPORATIONS & FOUNDATIONS: Happy Chicken Farms – Lackey Family Foundation Ingram-White Castle Foundation Key Bank The Robert and Hattie Lazarus Fund of the Columbus Foundation The Loft Violin Shop The Ohio Arts Council Puffin Foundation West

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For 30 years through memberships, special events, and volunteering our time, Sustaining Board members have raised over $800,000 to help sustain ProMusicaâ&#x20AC;&#x2122;s artistic and education programs.

Join us, and be part of this legacy. sustainingboard@promusicacolumbus.org promusicacolumbus.org/about/sustaining-board

201 9-2020 PROGRAM 72nd SEASON

TICKETS

David Finckel, Wu Han & Philip Setzer OCT 19, 2019

Modigliani Quartet NOV 16, 2019

American Brass Quintet JAN 25, 2020

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Calidore String Quartet FEB 29, 2019

Anthony McGill & Anna Polonsky Brentano String Quartet & Dawn Upshaw MAR 28, 2019 APR 18, 2019

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Porter Wr W ight h is proud to sup ht u port ProMusica up Chamber Orchestra’s’’s dedicat aation to a wo w rld-class and unique q classical music que sic ex experience. Congrat a ulat at a ions on another successfu at fful season!