A Message from the Chair of the Board of Trustees 4 2020 Musician Roster 5 MARCH 6-7 11 Peaks of Beauty and Devotion MARCH 20-21 19 Beethoven at 250: An Apotheosis of Energy MARCH 27-28 27 The Rite of Spring APRIL 17-18 35 Beethoven at 250: The Ninth Symphony Spotlight on Education 50 Board of Trustees/Staff 51 Friends of the Columbus Symphony 53 Columbus Symphony League 54 Future Inspired 55 Partners in Excellence 57 Corporate and Foundation Partners 57 Individual Partners 58 In Kind 61 Tribute Gifts 61 Legacy Society 64 Concert Hall & Ticket Information 67

ADVERTISING Onstage Publications 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com The Columbus Symphony program is published in association with Onstage Publications, 1612 Prosser Avenue, Dayton, Ohio 45409. The Columbus Symphony program may not be reproduced in whole or in part without written permission from the publisher. Onstage Publications is a division of Just Business!, Inc. Contents © 2020. All rights reserved. Printed in the U.S.A. A MESSAGE FROM THE CHAIR OF THE BOARD OF TRUSTEES

Dear Columbus Symphony Supporter,

As our 2019–20 season comes to a close, we again thank you for your support of quality, live performances of orchestral music in our community! We are thrilled to end our season with four amazing performances. Our wonderful spring concerts start with Peaks of Beauty and Devotion (March 6–7, Ohio Theatre). American artist Joshua Roman performs his own evocative Cello Concerto in a CSO premiere. Rossen Milanov conducts this powerful performance, culminating in Anton Bruckner’s majestic Symphony No. 7. Following is our first nod to Beethoven’s 250 year celebration, Beethoven at 250: An Apotheosis of Energy (March 20–21, Ohio Theatre). We open the concert with Brahms’ extraordinary Concerto, which compliments the musical exuberance showcased in Beethoven’s Seventh Symphony. Beethoven’s Seventh explores the hypnotic interplay between rhythm and energy, and has a long-reaching influence on the way we hear music. Closing March, we offer Stravinksy’s revolutionary The Rite of Spring (March 27–28, Ohio Theatre). Emphasizing this pagan melody and earthy rhythm is Missy Mazzoli’s Sinfonia, a composition by one of ’s fastest-rising talents. We also feature Cristina Pato, a magnetic artist who showcases the bagpipes as a concert instrument in its own right. Our Masterworks Season concludes with Beethoven at 250: The Ninth Symphony (April 17–18, Ohio Theatre). Beethoven’s crowning achievement is the perfect way to celebrate our season finale with the Columbus Symphony Chorus joining the orchestra in this spiritual and uniting performance. On behalf of the musicians, staff, and board of the Columbus Symphony, we sincerely thank you for your enduring support, enthusiasm, and faith in this organization. Please enjoy tonight’s performance!

Lisa Barton Board Chair

bravo MARCH/APRIL 2020 4 Columbus Symphony Musicians

VIOLINS

Joanna Frankel Leonid Polonsky David Niwa Alicia Hui Concertmaster Associate Assistant Principal Second Jack and Joan Concertmaster Concertmaster Martin and Sue George Chair Inglis Chair

Rhonda Frascotti Mary Jean Petrucci **Michael David Edge Robert Firdman Assistant Principal Buccicone Second

Joyce Fishman Tatiana V. Hanna Gail Sharp Zoran Anna Svirsky Stoyanovich

VIOLAS

David Tanner Jonquil Thoms Olev Viro Karl Pedersen Brett Allen Principal Assistant Principal Gay Su Pinnell Chair

* Indicates musician on leave during the 2019–2020 Winter Season ** Begins the alphabetical listing of players who participate in a system of rotated seating within the string section. Columbus Symphony Musicians

**Mary Ann Kenichiro Matsuda Chris Saetti Ann Schnapp Steven Wedell Farrington

VIOLONCELLOS BASSES

Luis Biava Wendy Morton **Pei-An Chao Victor Firlie Rudy Albach Principal Assistant Principal Principal Andy and Sandy Gay Su Pinnell Chair Nationwide Chair Ross Chair FLUTES

John Pellegrino Russell Gill Jena Huebner Niles Watson *Genevieve Assistant Principal Principal Stefiuk OBOE & OBOE ENGLISH

Heidi *Stephen Secan Robert Royse David Thomas Mark Kleine Ruby-Kushious Principal Principal Rhoma Berlin Chair * Indicates musician on leave during the 2019–2020 Winter Season ** Begins the alphabetical listing of players who participate in a system of rotated seating within the string section. PHOTOS: Scott Cunningham Columbus Symphony Musicians

BASSOONS HORNS

Betsy Sturdevant Douglas Fisher Brian Mangrum Julia Rose Principal Principal Associate Principal Sheldon and Rebecca Taft Chair TRUMPET TROMBONE

Adam Koch Mark Grisez Jeffrey Korak Andrew Millat Joseph Duchi Principal Lisa and Chris Principal Barton Chair TIMPANI PERCUSSION

*James Akins Benjamin Ramirez Philip Shipley Jack Jenny Principal Principal Principal American Electric Power Foundation Chair

bravo MARCH/APRIL 2020 7 Columbus Symphony Musicians

NOT PICTURED VIOLAS OBOES Mikhail Baranovsky Dee Dee Fancher Jacob Martin David Roode Maria Beltavski Yu Gan Hugo Souza Leah Burtnett Patrick Miller BASS Jonathan Fowler Amber Dimoff Ila Rondeau Bill Denza Erin Gilliland HARP VIOLONCELLOS & Rachel Miller Jonathan Hwang Mary Davis Sean Klopfenstein CONTRABASSOON Symphony League Chair Yoni Draiblate Cynthia Cioffari Alix Raspe Heather Kufchak Sabrina Lackey Ji-Yeon Lee Joseph Mueller HORNS KEYBOARD William Manley Will Teegarden Colin Bianchi Caroline Hong Nick Naegele Stephanie Blaha Reinberger Aurelian Oprea BASSES Bruce Henniss Foundation Chair Jeeyoung Park Wilbur “Skip” Edwards Amy Lassiter LIBRARIANS Emily Tarantino Manami White Kimberly McCann Jean-Etienne Lederer FLUTES & TRUMPETS Principal Librarian PICCOLOS Gary Davis Jacqueline Meger Lydia Roth Andrew Lott Library Assistant Janet van Graas

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FRIDAY, MARCH 6, 2020, 7:30 PM SATURDAY, MARCH 7, 2020, 7:30 PM PEAKS OF BEAUTY AND DEVOTION OHIO THEATRE Rossen Milanov, conductor Joshua Roman, cello • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

JOSHUA ROMAN Awakening I. Momentum II. Possibility III. It’s You, Not Me IV. Clinging V. Awakening, Incorporated

INTERMISSION

ANTON BRUCKNER Symphony No. 7 in E major I. Allegro Moderato II. Adagio: Sehr feierlich und sehr langsam III. Scherzo: Sehr schnell IV. Finale: Bewegt, doch micht schnell

THIS CONCERT IS DEDICATED IN MEMORY OF MARY C. LONG.

ADDITIONAL SUPPORT PROVIDED BY MASTERWORKS HOTEL SPONSOR:

bravo MARCH/APRIL 2020 11 ROSSEN MILANOV, music director

Tetzlaff, and André Watts. During his 11-year tenure with the Orchestra, Milanov conducted more than 200 performances. In 2015, he completed a 15-year tenure as music director of the nationally recognized training orchestra Symphony in C in New Jersey, and in 2013, a 17-year tenure with the New Symphony Orchestra in his native city of , . His passion for new music has resulted in numerous world premieres of works by composers such as Derek Bermel, Mason Bates, Caroline Shaw, Phillip Glass, , Nicolas Maw, and Gabriel Prokofiev, among others. Noted for his versatility, Milanov is also a Respected and admired by audiences and welcomed presence in the worlds of musicians alike, Rossen Milanov is currently and ballet. He has collaborated with Komische the music director of the Columbus Symphony Oper Berlin (Shostakovich’s Lady Macbeth of Orchestra (CSO), Chautauqua Symphony Mtzensk), Opera Oviedo (Spanish premiere of Orchestra, Princeton Symphony Orchestra, and Tchaikovsky’s Mazzepa and Bartok’s Bluebeard’s newly appointed chief conductor of the Slovenian Castle—awarded best Spanish production for RTV Orchestra in Ljubljana. 2015), and Opera Columbus (Verdi’s La Traviata). Milanov has established himself as a conductor An experienced ballet conductor, he has been with considerable national and international seen at New York City Ballet and collaborated presence. He recently completed a seven- with some of the best known choreographers of year tenure as music director of the Orquesta our time such Mats Ek, Benjamin Millepied, and Sinfónica del Principado de Asturias (OSPA) most recently, Alexei Ratmansky in the critically in . Nationally, he has appeared with acclaimed revival of Swan Lake in Zurich with the the Colorado, Detroit, Indianapolis, Milwaukee, Zurich Ballet and in Paris with La Scala Ballet. Baltimore, Seattle, and Fort Worth symphonies, Milanov was recipient of an Arts Prize by The National Symphony Orchestra at the Kennedy Columbus Foundation. Under his leadership, Center, Link-Up education projects with Carnegie the Columbus Symphony has expanded its Hall and the Orchestra of St. Luke’s, and with the reach by connecting original programing with Civic Orchestra in Chicago. community-wide initiatives such as focusing Internationally, he has collaborated with on women composers, nature conservancy, the BBC Symphony Orchestra, Orchestra de presenting original festivals, and supporting and la Suisse Romand, Rotterdam Philharmonic, commissioning new music. Aalborg, Latvian, and Hungarian National In Princeton, he celebrated his tenth anniversary Symphony Orchestras and the orchestras in as music director, and under his leadership, the Toronto, Vancouver, KwaZulu-Natal Philharmonic orchestra has established an excellent artistic (South Africa), Mexico, Colombia, Sao Paolo, reputation and has been recognized for its Belo Horizonte, and New Zealand. In the Far innovation and vital role in the community. East, he has appeared with NHK, Sapporo, Tokyo, and Singapore symphonies, Hyogo Milanov studied conducting at the Curtis Institute Performing Arts Center, and Malaysian and of Music and the Juilliard School, where he Hong Kong Philharmonics. received the Memorial Scholarship. Milanov has collaborated with some of the A passionate chef, he often dedicates his culinary world’s preeminent artists, including Yo-Yo Ma, talents to various charities. , , , Christian

bravo MARCH/APRIL 2020 12 JOSHUA ROMAN, cello

A Gramophone review of his 2017 recording of Aaron Jay Kernis’s Cello Concerto (written for Roman) proclaimed that “Roman’s outstanding performance of the cello concerto is the disc’s highlight… Roman’s extraordinary performance combines the expressive control of Casals with the creative individuality and virtuoso flair of Hendrix himself.” Recent highlights include performing standard and new concertos with the Colorado, Detroit, Jacksonville, Milwaukee, and San Francisco Symphonies. In addition to his other orchestral appearances, Roman has collaborated with the JACK, St. Lawrence, and © Hayley Young Verona Quartets and brings the same fresh Joshua Roman is a cellist, composer, and approach to chamber music projects to his curator, whose performances embrace musical own series, Town Music at Town Hall Seattle. styles from Bach to Radiohead. Before setting Roman’s adventurous spirit has led to off on his unique path as a soloist, Roman collaborations with artists outside the music was the Seattle Symphony’s principal cellist—a community, including creating On Grace with job he began at just 22 years of age and left actor Anna Deavere Smith. His compositions only two years later. He has since become are inspired by sources such as the poetry of renowned for his genre-bending repertoire Tracy K. Smith and the musicians he writes and wide-ranging collaborations. Roman was for, including the JACK Quartet, violinist Vadim named a TED Senior Fellow in 2015. His live Gluzman, and conductor David Danzmayr. performance of the complete Six Suites for Roman’s outreach endeavors have taken him Solo Cello by J.S. Bach on TED’s Facebook Page to Uganda with his violin-playing siblings, garnered 1.8M live viewers, with millions more where they played chamber music in schools, for his Main Stage TED Talks/Performances, HIV/AIDS centers, and displacement camps. including an improvisational performance with Tony-winner/MacArthur Genius Grant recipient Bill T. Jones and East African vocalist Somi.

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Awakening—Concerto for Cello and with the solo cello—a fight between the lovers, as it Chamber Orchestra (2015) were, in which the percussionists, the composer said, by Joshua Roman (b. Oklahoma City, 1983) act as “referees” or “commentators.” The energetic, Latin-inflected rhythms of this section contrast with For Joshua Roman—a solo cellist with an exciting the slow fourth movement—the “breakup,” in which international concert career—it was a natural step to the cello is supported by a second solo cello from become a composer: when he started writing music the orchestra (a friend?). Later, the solo flute comes for himself and his, it was all part of a desire to express to the fore with some haunting melodic lines. The himself on multiple levels at the same time. It was resolution in the last movement comes about in a long the same desire that compelled the young musician tutti section with some lush and grandiose C-major to start his own concert series in Seattle and to sonorities where all tensions seem to go away. Roman use various internet platforms to reach out to new has emphasized that the soloist needs to take a step audiences. All these activities are inseparable from back so the orchestra can create a new space in which one other for Roman, who has so far included cello is the soloist can re-enter, as if “awakening” to a new parts in everything he has written. life. When that happens, we hear a new, relaxed and bluesy, melody, with runs becoming more and more His cello concerto Awakening—the most ambitious rambunctious all the way to the final flourish. work he had yet written—was co-comissioned by the ProMusica Chamber Orchestra in Columbus (in Duration of completed work: 23:30 collaboration with the Illinois Philharmonic Orchestra, CSO premiere the Corral family, and the Lied Center of Kansas, and was first heard here in January of 2016. In five Symphony No. 7 in E major (1881-83) movements (“Momentum”—Possibility”—“It’s You, by Anton Bruckner (Ansfelden, Upper Austria, 1824 – Not Me”—“Clinging”—“Awakening, Incorporated”), the Vienna, 1896) piece takes us on an emotional journey where, in each movement, a lyrical melody is placed in a different Who was Anton Bruckner? This question is probably context, exploring many orchestral colors, rhythmic harder to answer than would be similar questions profiles and overall musical styles. Lawrence A. Phillips about Beethoven, Wagner, Brahms or Mahler, to name of the Chicago Classical Review reported Roman as only composers who, as ancestors, contemporaries or successors of Bruckner, are part of the same saying that the piece is “a personal journey of sorts, th from an unhappy love affair to darkness and anger stream of Austro-German music history. Most 19 - and then a reawakening with the support of others.” century composers left personal documents such as correspondence and other prose, in which they In an interview with WOSU’s Boyce Lancaster, given at disclosed something about themselves and about the time of the Columbus premiere with ProMusica, the way they viewed their art. They wrote vocal music Roman discussed the piece in more detail. with texts that reflected their literary tastes and the ideas that preoccupied them. Bruckner, on the other Over some shimmering string harmonics, the soloist hand, was never particularly good with words. As has enters in the first movement with a series of pizzicato been frequently noted, his surviving letters, with a (plucked) chords out of which the first melody of the few rare exceptions, reveal very little about his inner concerto emerges. The melody gradually picks up world. Again with a few rare exceptions, he did not speed (real “momentum”) as it develops, running respond to poetry with musical compositions. There directly into the more meditative second movement, are many anecdotes about Bruckner’s life, his country which Roman called a “love song.” The harp, the upbringing, his devoutness, his odd Upper Austrian vibraphone, and the English horn provide a tender, dialect, his difficulties in adjusting to life in the capital and at the same time somewhat mysterious, sound city of Vienna, and his tragic lack of success with the environment to the romantic cello melody. In the third succession of young girls to whom he proposed. All of movement, the solo violin gets into an intense argument this has led many people to see Bruckner as some

bravo MARCH/APRIL 2020 14 PROGRAM NOTES kind of idiot savant, hopelessly out of sync with his young musicians he had inspired was a teenage Gustav environment, who removed himself from the world Mahler. The previous year (summer of 1880) Bruckner in order to spend his life stubbornly building (and had undertaken a trip to Switzerland where he played rebuilding) his symphonies, those majestic cathedrals on many great church organs but also took a train of sound. from Geneva to Chamonix, near the Mont Blanc. The view of the highest peak of the Alps must have been on There is no doubt that Bruckner marched to his his mind as he was embarking on his next monumental own drummer. He didn’t conform to other people’s symphony—although Bruckner, who wasn’t particularly expectations as to what a composer should be like good with words, never said so explicitly. or how he should behave, and he did not articulate his artistic ideas verbally. That doesn’t mean, however, Bruckner temporarily set the first movement aside to that those ideas were necessarily any less cogent or, compose the Scherzo, which he must have considered for that matter, any less “timely” (whatever we mean by an easier task. Having completed the first draft of that word). In fact, in an era obsessed with innovation the scherzo in July 1882, he traveled to Bayreuth to versus traditionalism (which is what the respective attend the premiere of Wagner’s Parsifal. It was the champions of Wagner and Brahms were endlessly last time he saw his idol. Upon his return to Vienna, debating), Bruckner created a unique synthesis he took up the first movement again. It is, then, hardly between those two concepts. He was considered part a coincidence that in its finished form, the opening of the Wagner “camp,” and there was probably no one movement is full of Wagnerian quotations, some in his generation who felt Wagner’s music more deeply veiled, some more overt. Commentators have detected and responded to it with more originality than he. Yet if he echoes from Tristan, Parsifal and Tannhäuser. Music stood with one foot in the world of Zukunftsmusik (“the analyst Graham Phipps saw the whole first movement music of the future”), his other foot was planted as “Bruckner’s free application of strict Sechterian firmly in the Austrian Catholic tradition into which he theory with stimulation from Wagnerian sources”— was born. He was marked for life by the monumental Simon Sechter being the professor who had taught monastery of St. Florian, a masterpiece of Baroque Bruckner counterpoint. The synthesis between architecture whose origins go back far into the traditional church style and the music of the future” Middle Ages. In addition, this great organist and was complete. church composer who was deeply touched by the sensuality of Tristan und Isolde had acquired some The first movement rests on three mighty pillars, three of his earliest musical experiences as a fiddle player distinct thematic groups. The first is a soaring cello at village weddings, gaining an intimate knowledge of melody against some quintessentially Brucknerian Austrian folk music—a knowledge manifest in several tremolos in the violins. The second is a singing theme of the scherzo movements in those large “cathedrals marked ruhig (“calm”), introduced by the woodwind of sound.” It took many components to bring about the with accompanying horns and trumpets. Finally, Bruckner phenomenon, and those components didn’t the third, appearing after the first of many powerful combine in anyone else in quite the same way. crescendo surges, is a predominantly rhythmic idea, presented by strings and woodwind. (They play slightly Bruckner began work on his Seventh Symphony different variants of the theme simultaneously.) on September 23, 1881, exactly twenty days after These three different characters start to interact in completing his Sixth. At fifty-seven, he had just a development section that doesn’t really “develop” enjoyed the first truly important success of his career in the classical sense at all. Instead of the increasing earlier that year when, in February, Hans Richter gave a level of activity one finds in classical developments, the highly acclaimed performance of the Fourth Symphony music actually becomes slower and more fragmented, with the Vienna Philharmonic. (The Philharmonic had before it suddenly erupts in a “molto animato” section. earlier rejected the Second and Third Symphonies.) At The ascending motive of the opening is here turned this point he had been teaching organ, counterpoint upside down, its serene E major becomes a dramatic and harmony in Vienna for 13 years; among the many C minor, and instead of being played in the warm

bravo MARCH/APRIL 2020 15 PROGRAM NOTES singing tone of the cellos, it is blasted forth by the Wagner tubas begin their theme for the third time. entire orchestra, further amplified by canonic This time, a crescendo more astonishing than anything imitation. From C minor, the tonality rises through that has gone before brings us to the full radiance of the keys of D and E flat until E major is reached C major, a moment of arrival marked by the work’s only again for a contrapuntally enriched recapitulation cymbal crash, appearing exactly at midpoint in the of all three thematic groups. The recapitulation ends hour-long symphony. with a fortissimo climax followed by a sehr feierlich (“very solemn”) coda. It is here that the kettledrum According to the authoritative Bruckner expert and is heard for the very first time in the symphony. The editor of the symphonies, Leopold Nowak (1904- tremolo of the timpani lasts a full 52 measures, 91), the composer had progressed this far when he increasing, decreasing and rising again in volume, as received news of Wagner’s death on February 13, the rest of the orchestra brings the movement to its 1883. During the “unwinding” that follows the C-major stunning conclusion. climax, a horn motive filled with extreme pain (marked triple forte) expresses Bruckner’s sadness more clearly On one of the rare occasions he revealed something than words could ever do. of his feelings in verbal form, Bruckner told his former student, the conductor Felix Mottl, about the impulse The scherzo, as mentioned before, was composed that led to the composition of the sublime Adagio of before the Adagio. As with the Fifth and Sixth the Seventh Symphony: “One day I came home and Symphonies, the scherzo of the Seventh is in a minor felt very sad. The thought had crossed my mind that key, which immediately undermines the humorous before long the Master [Wagner] would die, and then character one habitually expects of scherzos—a the C-sharp minor theme of the Adagio came to me.” character that is, in fact, implied by the fast tempo and the dance rhythms. There is a fundamental For this solemn theme, Bruckner used a quartet of ambiguity between playfulness and a certain Wagner tubas, the special instruments Wagner had menacing quality that comes to the fore in some harsh devised for his Ring cycle. It was the first time another dissonances and the predominance of the brass. composer had employed these tubas, created to evoke Contrary to the norm, which demands that the minor the gods of Valhalla and to portray many dramatic mode be softened by major at the end of the first moments involving death. Without a doubt, it was the formal unit, Bruckner modulates from one minor key premonition of Wagner’s death that prompted the use (A minor) to another (C minor). A mysterious timpani of these grave, yet eloquently singing instruments. solo serves as link between the various sections of the The tuba melody is continued by the string section, scherzo proper, as well as between the scherzo and the the violins required to use the dark-hued G string. slower, more genial trio. The latter, which finally brings Structurally, the movement was influenced by the major-mode relief, begins with a singing violin melody Adagio of Beethoven’s Ninth, in which a slow thematic over a long-held pedal note in the bass. Fleeting group in 4/4 time alternates with a slightly faster one in memories of the scherzo’s trumpet motive ruffle 3/4. Bruckner’s deeply sensual second theme, which is the smooth surface of the music, as some intensely in a major key (F-sharp major), follows another mighty Wagnerian modulations complicate the initially simple orchestral surge culminating in a fortissimo passage and folk-like melody. The A-minor scherzo is then for the entire orchestra. It is after such antecedents repeated in its entirety. that the almost dance-like gracefulness of this theme takes its full effect. The Wagner-tuba theme then Finding the appropriate ending was always one of the returns in a more elaborate form than before, with new most difficult problems Bruckner had to face in his countersubjects, varied and expanded, culminating in symphonies. Finales were expected to resolve all the a glorious outburst in the bright key of G major. The tensions that had accumulated in the course of the second theme, a half-step higher (A-flat major), also first three movements and to bring about the climax of gains in coloristic detail on second hearing. Yet the the entire work. This became harder and harder to do high point of the entire movement comes when the as symphonies reached increasing levels of complexity.

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By no means restricted to Bruckner, the problem was the last word, and even though the theme gains a lot first felt by Beethoven who introduced a chorus and of power especially in the coda, the tempo remains four vocal soloists in the last movement of his Ninth. emphatically bewegt, doch nicht schnell (“animated Brahms found a very different but equally original but not fast”). The coda of the finale brings back the solution when he turned to the solemn Baroque form opening motive of the first movement in its original of passacaglia to crown his final symphony, the Fourth. form, in addition to its transformations which are present simultaneously. Like at the end of the first Bruckner’s answer in his Seventh perplexed even movement, the timpani enters after a long silence with some of his most enthusiastic supporters. Both the an extended tremolo over which unfold the concluding composer Hugo Wolf and the conductor Hermann Levi measures of the symphony. found certain parts of the finale “incomprehensible,” though both eventually came round to appreciate Bruckner finished his Seventh during the first days its unique beauty. There has been a lingering feeling of September 1883. Arthur Nikisch, one of the great that the master had not quite managed to repeat conductors of the time, played it through on two the achievement in his Fifth Symphony, of whose with Bruckner’s student and enthusiastic magnificent contrapuntal finale Bruckner himself promoter, Josef Schalk. He immediately decided to was proud. Even though the Seventh has its share perform it with the Gewandhaus Orchestra in Leipzig. of fanfares at the end, many commentators have felt This performance was followed by numerous others in the triumph to be less than complete. At 13 minutes many cities of Europe as well as the United States, against the first movement’s 22, it is much smaller where it was introduced only a year and a half after even in size. The timings of the Fifth, by comparison, the world premiere. The Seventh became, without are: 23 minutes for the finale, 19 for the opening a doubt, the greatest success of Bruckner’s life. The movement. The Eighth Symphony will restore a similar composer submitted it to King Ludwig of Bavaria, who proportion with 21 minutes for the finale, and 14 had been Wagner’s great benefactor, and the King for the first movement. (Of course, all these timings accepted the dedication. As Bruckner reported to a are approximate, and vary from one performance friend in Linz, Hermann Levi had called the symphony to the next.) “the most important symphonic work since 1827” [the year of Beethoven’s death]. Levi called the symphony Yet the finale of the Seventh is unusual for reasons other a Wunderwerk [“wonderful work”] that was the than its length. Its structure is not the usual sonata “crowning event” of his career as a conductor. (This is form but something called Bogenform (arch form) no small praise from the man who had conducted the in German, which means that in the recapitulation, first performance of Parsifal in Bayreuth!) the three thematic groups return in reverse order: A-B-C becomes C-B-A. The character of Bruckner’s After these triumphs, Bruckner’s home city of Vienna three thematic groups are as follows: “A” is resolute finally gave him his due as well: in 1886, he received but understated, like a biblical “still small voice.” a high decoration from the Imperial Court and, on “B” is a religious chorale with Tristan-like chromatic September 23 of that year, he was received by the harmonies, while “C” is a variant of “A” where the voice Emperor Franz Joseph I. The monarch asked the becomes powerful and triumphant as the Wagner composer if he had any wishes. Bruckner, who was tubas are heard again. Both “A” and “C” are, by the definitely not good with words, replied (and we have way, closely related to the opening motive of the first to imagine this in his flavorful Upper Austrian accent): movement. However, in the finale the rhythmic profile “Your Majesty, will you graciously forbid [music critic of this motive is considerably sharpened through the Eduard] Hanslick to write so badly about me.” use of the so-called “double-dotted” pattern (the long and short notes of the pattern are in the ratio of 7:1 Duration of completed work: 1:04:00 instead of 3:1, as they were in the first movement). By Last CSO performance(s) of work: 5/12-13/2007 reversing “A” and “C” in the recapitulation, Bruckner with Günther Herbig, conductor allows the more subdued form of the theme to have Notes by Peter Laki bravo MARCH/APRIL 2020 17 bravo MARCH/APRIL 2020 18 FRIDAY, MARCH 20, 2020, 7:30 PM SATURDAY, MARCH 21, 2020, 7:30 PM BEETHOVEN AT 250: AN APOTHEOSIS OF ENERGY OHIO THEATRE Christoph König, conductor Yoo Jin Jang, violin • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

JOHANNES BRAHMS Violin Concerto, Op. 77, D major I. Allegro non troppo II. Adagio III. Allegro giocoso, ma non troppo vivace

INTERMISSION

LUDWIG VAN BEETHOVEN Symphony No. 7, Op. 92, A major I. Poco sostenuto - Vivace II. Allegretto III. Presto IV. Allegro con brio

ADDITIONAL SUPPORT PROVIDED BY MASTERWORKS HOTEL SPONSOR:

bravo MARCH/APRIL 2020 19 CHRISTOPH KÖNIG, conductor

Filharmonía de Galícia, Orquesta Sinfonica Castilla y Leon, Beethoven Orchester Bonn, Dresden Philharmonic, Stuttgart Philharmonic, Adelaide Symphony, Orquesta de Valencia, Barcelona Symphony, Radio Orchestra (RTVE) Madrid, Orquestra Minas Gerais (Brazil), Deutsche Radio Phiharmonie Saarbrücken, New Zealand Symphony, Malaysia Philharmonic, Melbourne Symphony, and the BBC Scottish Symphony Orchestra, whom he led on a highly successful tour of China in 2008. From 2009 to 2014, König was Principal Guest Conductor of the Orquestra Sinfónica do Porto Casa da Música, touring with them extensively Christoph König has been Principal Conductor in Europe and Brazil. From 2003 to 2006, & Music Director of the Solistes Européens he served as Principal Conductor of Malmö Luxembourg since 2010. Celebrated for his Symphony Orchestra, as well as Principal clarity, precision, and elegant approach, König Guest Conductor of l’Orquesta Filarmonica de is in high demand as a guest conductor all over Gran Canaria. the world. Since his U.S. debut in 2010, he has conducted symphony orchestras in Pittsburgh, König has conducted productions with many Seattle, Cincinnati, Detroit, Indianapolis, of the leading opera houses of the world, Baltimore, New Jersey, Houston, Oregon, such as Zurich Opera, Deutsche Oper Berlin, Colorado, Milwaukee, Fort Worth, Vancouver, Bonn Oper, Semper Oper Dresden, Staatsoper and Toronto, as well as the Los Angeles Stuttgart and Teatro Real in Madrid. His Philharmonic, Pacific Symphony, and Chicago’s discography includes works by Schoenberg, Grant Park Orchestra. Prokofiev’s Romeo and Juliet, works by Saariaho, and Sibelius’ Symphony No. 7 with 2019-20 highlights include appearances Orquestra Sinfonica do Porto Casa da Musica with the Rochester Philharmonic and the (Ao Vivo); the Melcer Concertos with the New Jersey Symphony Orchestra. Past BBC Scottish Symphony Orchestra (Hyperion); engagements include the Staatskapelle Beethoven Symphonies with Malmö Symphony Dresden, Orchestre de Paris, Netherlands Orchestra (DB Productions); as well as Philharmonic, Bremer Philharmoniker, Wiener Beethoven’s Symphonies No. 5 & 6, Sibelius’ Concertverein, Bournemouth Symphony, Symphony No. 7, and Grieg’s Peer Gynt Staatsphilharmonie Rheinland-Pfalz, Warsaw Suites with Solistes Européens, Luxembourg Philharmonic Orchestra, Danish National (SEL Classics). His recording of the Brahms Symphony, Royal Philharmonic Orchestra, BBC Piano Concerto with BBC Scottish Symphony National Orchestra of Wales, Sinfonieorchester Orchestra was featured by the BBC Music St. Gallen, Norwegian Radio Orchestra, magazine (September 2009). Tampere Philharmonic, Mozarteum Orchestra Salzburg, Orquesta Sinfónica de Euskadi, Real

bravo MARCH/APRIL 2020 20 YOOJIN JANG, violin

Internationally, YooJin has performed with her native country’s KBS Symphony Orchestra and Seoul Philharmonic Orchestra, as well as the Budapest Festival Orchestra, Bulgaria National Radio Symphony Orchestra, Sofia Philharmonia Orchestra, Erato Ensemble, Tokyo Symphony Orchestra, Osaka Symphony Orchestra, and Spain’s Extremadura Orchestra, and recitals in Japan for the Sendai Competition Winner’s series in Sendai, Nagoya and at Hamarikyu Asahi Hall in Tokyo. YooJin’s victories at CAG and Sendai follow a long line of international competition success. In 2013, she won Japan’s 4th International Applauded by The Strad for her “fiery Munetsugu Violin Competition, which included virtuosity” and “consummate performances,” the loan of the 1697 ‘Rainville’ Stradivari violinist YooJin Jang was a winner of the 2017 violin. She was also a top prize winner at the Concert Artists Guild Competition and First prestigious International Violin Competition Prize winner of the 2016 Sendai International of Indianapolis, the Michael Hill International Music Competition in Japan. Violin Competition (including the Audience Recent and forthcoming concerto Prize and Best Performance of the New performances include the symphony Zealand Commission Work), and the Yehudi orchestras of Chautauqua, Dubuque, DuPage, Menuhin Competition. Roswell, and University of Chicago. Recital Born in Korea in 1990, YooJin Jang earned a highlights include YooJin’s Carnegie Hall debut, Bachelor of Music from The Korean National and concerts at Jordan Hall and the Isabella University of Art, and Master of Music, Graduate Stewart Gardner Museum in Boston and the Diploma, and Artist Diploma from New England Dame Myra Hess Memorial Concert series Conservatory, where she is currently pursuing a in Chicago. A passionate chamber musician, Doctor of Musical Arts degree. YooJin is a co-founder of The Kallaci String Quartet, and has performed with Caramoor’s Rising Stars and toured with Musicians from Ravinia’s Steans Music Institute and Musicians from Marlboro.

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Violin Concerto in D major, concerto. In fact, Brahms was the first composer to Op. 77 (1878) have matched the scope of that masterpiece, in by (Hamburg, 1833 – Vienna, 1897) terms of its dramatic quality and the perfect balance between soloist and orchestra. (Mendelssohn’s great Johannes Brahms was twenty years old when he first violin concerto in E minor followed a different tack, met the great Hungarian-born violinist Joseph Joachim, being a predominantly lyrical work. Coincidentally, two years his senior, for whom he would eventually Tchaikovsky wrote his violin concerto the same write his Violin Concerto. They became acquainted year as Brahms wrote his, responding to the same through another Hungarian violinist, Eduard Reményi, Beethovenian challenge.) who had been touring Germany with Brahms as his accompanist. The bond between Brahms and Joachim The gigantic first movement (itself more than 20 was strengthened by the fact that both were protégés of minutes in length) presents an entire gamut of Robert Schumann. Joachim had been a child prodigy, characters, from majestic to lyrical and from calm making his debut at age 12 under Mendelssohn; he to agitated. Like the classical concertos, it has a was also responsible for making Beethoven’s Violin place for a cadenza to be added by the soloist. The Concerto, until then a neglected work, part of the cadenza written by Joachim continues to be used in standard concert repertoire. performances to this day. Joachim had been asking Brahms for a violin concerto The second movement starts with a rapturous oboe for a long time. Finally, in the summer of 1878, the solo, accompanied by a group of wind instruments. composer set to work during his summer vacation at Its melody closely resembles one of Brahms’s most Pörtschach on the beautiful lake, the Wörthersee. The beautiful songs, the “Sapphic Ode.” The solo violin previous summer, Brahms had composed his Second embellishes the melody with lavish figurations, and Symphony in the same place, and the two works have takes it through several stages of transformations, a number of features in common: they share not only involving many subtle changes of key, before we reach their tonality (D major) and the meter of their first the truly ethereal ending. movements (3/4), but some thematic material as well. Brahms and Joachim worked closely on many Both the first and the last movements are begun by details of violin technique; Brahms asked the violinist the orchestra. The finale, by contrast, starts with a for advice, although he didn’t always follow it. violin solo, so the soloist has no time to rest: the last chord of the Adagio is immediately followed by the Brahms originally planned to write a four-movement lively theme of the last movement. The style of this concerto, something classical composers had never rondo was inspired by Hungarian gypsy tunes, which done. Brahms eventually changed his mind and had inspired Brahms in his Hungarian dances and his reverted to the usual three-movement concerto G-minor piano quartet as well. The impetuous “gypsy” structure, and his sketches for the original middle theme is contrasted with some calmer episodes. Its movements are now lost. (He returned to the idea of final return, in a faster tempo, gives the concerto its a four-movement concerto some years later, in the exuberant conclusion. Second Piano Concerto.) Duration of completed work: 36:00 The immediate model for Brahms’s Violin Concerto Last CSO performance(s) of work: 1/11-12/2008 was, obviously, Beethoven—we have mentioned with Jean-Marie Zeitouni, conductor and Joachim’s close association with the Beethoven Gil Shaham, violin

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Symphony No. 7 in A major, proper and one for the central Trio section.) In the first Op. 92 (1812) movement, we may see how the predominant rhythm by Ludwig van Beethoven (Bonn, 1770 – Vienna 1827) gradually comes to life during the transition from the lengthy slow introduction to the fast tempo. I can distinctly remember the day I heard Beethoven’s Seventh Symphony for the first time. I was about five Every rock lover knows how intoxicating the constant or six years old, and a recording with Arturo Toscanini repetition of simple rhythmic patterns can be. That’s and the NBC Symphony was playing on the radio. I was part of what Beethoven did here, but he also did much completely mesmerized by the performance, and when more than that: against a backdrop of continually the fourth movement began, I jumped to my feet and repeated dance rhythms, he created an endless started to dance. diversity of melodic and harmonic events. There is a strong sense of cohesion as the melodies flow from About a dozen years later, I learned about Richard one another with inimitable spontaneity. At the same Wagner’s description of the symphony as the time, harmony, melody, dynamics and orchestration “apotheosis of the dance,” and although I wasn’t are all full of the most delightful surprises. It is sure what an apotheosis was, I could certainly agree somewhat like riding in a car at a constant (and that dance was at the center of what this symphony rather high) speed while watching an ever-changing, was all about. Even later, I became acquainted with beautiful landscape pass by. other attempts by 19th-century writers to capture the work’s essence, invoking political revolutions, military The first movement starts with the most extended slow parades, masquerade balls, Bacchic orgies, and more. introduction Beethoven ever wrote for a symphony. Finally, about 25 years after my first encounter with It presents and develops its own thematic material, the symphony, I read Maynard Solomon’s excellent linked to the main theme of the “Allegro” section in a book on Beethoven, in which the author shows how passage consisting of multiple repeats of a single note all these fanciful interpretations were really variations — E — in the flute, oboe, and violins. Among the many on a single theme, that of the “carnival or festival, unforgettable moments of this movement, I would which, from time immemorial, has temporarily lifted single out two: the surprise oboe solo at the beginning the burden of perpetual subjugation to the prevailing of the recapitulation (which has no counterpart in the social and natural order by periodically suspending exposition) and the irresistible, gradual crescendo at all customary privileges, norms and imperatives.” the end that culminates in a fortissimo statement of the movement’s main rhythmic figure. In other words, generations of listeners have felt that Beethoven’s Seventh Symphony is a wild celebration of The second-movement “Allegretto” in A minor was life and freedom. While the Ninth Symphony is a fierce the section in the symphony that became the most struggle with fate that is won only when the “Ode to popular from the day of the premiere. (It had to be Joy” is intoned, from the start the Seventh radiates joy repeated already at the first performance.) The main and happiness that not even the second movement rhythmic pattern of this movement was used in Austro- (to some, a funeral march) can seriously compromise. German church litanies of the 18th and 19th centuries. The same pattern is so frequent in the music of Franz The dance feelings associated with the work find Schubert that it is sometimes referred to as the their explanation in the fact that each of the four “Schubert rhythm.” The “Allegretto” of Beethoven’s movements is based on a single rhythmic figure that Seventh combines this rhythm with a melody of a rare is present almost without interruption. (The third expressive power. The rhythm persists in the bass even movement has two such figures, one for the Scherzo during the contrasting middle section in A major.

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The third-movement “Scherzo” is the only one In the fourth-movement “Allegro con brio,” the of the symphony’s movements where the basic exuberant feelings reach their peak as one glorious rhythmic patterns are grouped in an unpredictable, theme follows another over an unchanging rhythmic asymmetrical way. The joke (which is what the word pulsation. The dance reaches an almost superhuman Scherzo means) lies in the fact that the listener may intensity (and that, incidentally, is the meaning of never know what will happen in the next moment. Only the Greek word “apotheosis,” literally, “becoming the Trio returns to regular-length periods. In another God-like”). This is a movement of which even Sir innovative move, Beethoven expands the traditional Donald Francis Tovey, the most celebrated British Scherzo-Trio-Scherzo structure by repeating the Trio a musical essayist of the first half of the 20th century, second time, followed by a third appearance of the had to admit: “I can attempt nothing here by way of Scherzo. At the end, Beethoven leads us to believe that description.” Fortunately, the music speaks for itself. he is going to start the Trio over yet another time. But we are about to be doubly surprised: first when the Duration of completed work: 36:00 by-now familiar Trio melody is suddenly transformed Last CSO performance(s) of work: 11/11-12/2016 from major to minor; and second when, with five quick with Peter Stafford Wilson, conductor tutti strokes, the movement abruptly ends, as if cut off in the middle. Notes by Peter Laki

bravo MARCH/APRIL 2020 24 bravo MARCH/APRIL 2020 25 bravo MARCH/APRIL 2020 26 FRIDAY, MARCH 27, 2020, 7:30 PM SATURDAY, MARCH 28, 2020, 7:30 PM THE RITE OF SPRING OHIO THEATRE Rossen Milanov, conductor Cristina Pato, gaita • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

MISSY MAZZOLI Sinfonia (for Orbiting Spheres)

OCTAVIO VAZQUEZ “Widows of the Living and of the Dead” I. Muhler II. Moderato III. Elas

INTERMISSION

IGOR STRAVINSKY The Rite of Spring PART I: Adoration of the Earth Introduction The Augurs of Spring – Dances of the Young Girls Ritual of Abduction Spring Rounds Ritual of the Rival Tribes Procession of the Sage The Sage Dance of the Earth PART II: The Sacrifice Introduction Mystic Circle of the Young Girls Glorification of the Chosen One Evocation of the Ancestors Ritual Action of the Ancestors Sacrificial Dance (The Chosen One)

THIS CONCERT IS DEDICATED IN MEMORY OF ROBERT E. AND DOLORES L. MILLAT ADDITIONAL SUPPORT PROVIDED BY MASTERWORKS HOTEL SPONSOR:

bravo MARCH/APRIL 2020 27 CRISTINA PATO, gaita

Education is a critical part of Cristina’s personal and professional life. She serves as Learning Advisor for Silkroad (founded by Yo-Yo Ma), and has been an artist-in-residence at a number of universities, including Harvard and the University of California Santa Barbara, where she develops interdisciplinary learning projects on the role of arts in society. She is the founder of the multidisciplinary Galician Connection Festival, and writes a weekly column for the Spanish newspaper La Voz de Galicia.

© XanPadron And active performer, lecturer, and public speaker, Cristina holds a Doctorate of Musical Cristina Pato is a master of the Galician Arts from Rutgers University; degrees in piano, bagpipes (gaita), a classical pianist, and a music theory, and chamber music from the passionate educator. Hailed as “a virtuosic Conservatorio de Musica del Liceu; and burst of energy” by The New York Times, a Master of Fine Arts from the Universitat her professional life is devoted to cultural Pompeu Fabra. Cristina is getting her second exchange and forging new paths for the PhD in Cultural Studies and has co-created Galician bagpipe. Cristina has performed on a groundbreaking pilot class on memory with major stages throughout the world, released neuroscientist Dr. Kenneth Kosik. and produced six solo gaita albums and two solo piano recordings, and collaborated on more than 40 albums as a guest artist.

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Sinfonia (for Orbiting Spheres) (2013) “Widows of the Living and of the Dead” by Missy Mazzoli (b. Lansdale, PA, 1980) (2014) by Octavio Vazquez (b. Santiago de Compostela, Spain, 1972) Missy Mazzoli is one of the fastest-rising stars on the American contemporary music scene, with a growing The region of Galicia in northwestern Spain has its own international reputation. Her many awards and language, its own culture and its own political history honors include a Grammy nomination and a recent that, suppressed during the Franco regime, has enjoyed commission from the Metropolitan Opera, and she a major revival in recent decades. Modern literature in is currently composer-in-residence with the Chicago the Gallego language, which is closer to Portuguese Symphony Orchestra. than to Castilian Spanish, started in the 19th century, with Rosalía de Castro (1837-85)* one of the classic Sinfonia (for Orbiting Spheres), originally written for figures in what was called the rexurdimento (cultural chamber orchestra and premiered by the Los Angeles renaissance). “Widows of the Living and of the Dead” Philharmonic under the direction of John Adams in (Viúvas de vivos e mortos), a cycle of poems from 2014, was re-scored for a full orchestra two years later. Castro’s collection Follas novas (“New Leaves,” 1880), In this latest symphonic evocation of what the music of is a tribute to those Galician women whose husbands the spheres is imagined to sound like, Mazzoli draws had to leave the country to find work elsewhere and on shimmering orchestral colors to create an illusion whose heroic work kept rural communities alive. of the cosmos. The word symphony originally meant “sounding together”; in the Middle Ages, as Mazzoli Octavio Vazquez, himself a native of Galicia and reminds us, it was also the name of the hurdy-gurdy, currently a professor of composition at Nazareth which play a melody and its drone accompaniment at College in Rochester, New York, celebrates the courage the same time. The composer imitates this sound by and endurance of these women, in a work showcasing using a set of harmonicas, played by the members of Galicia’s national instrument, the bagpipe or gaita. the wind section. The virtuoso gaita player Cristina Pato, who is also an acclaimed concert pianist, has been commissioning The musical material of the piece emerges gradually works that combine the bagpipe with the symphony from long-held notes receiving more and more orchestra, thus bringing together the folk and classical elaborate ornamentation before a more animated, contemporary genres. Vasquez’s concerto was percussive section gets underway. The textures commissioned with the help of New Music USA, and intensify with some powerful brass chords; the use of premiered in Santiago de Compostela, by Pato and the “lion’s roar”* by pulling the string provides some the Royal Galician Philharmonic under Paul Daniel, particularly striking moments before the cosmic vision on June 2, 2016. The third movement (“Elas”) had fades into silence. received its premiere earlier on February 3, 2015, by the Sphinx Symphony Orchestra in Detroit. * A lion’s roar is a drumhead with a string going though it; the sound is produced by pulling on the string. The score of the three-movement concerto bears the following motto from Rosalía de Castro: Duration of completed work: 12:00 CSO premiere You [Galicia] have instead orphan boys and girls, and fields of loneliness, and mothers that have no children, and children that have no fathers.

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The first movement is based on two Galician folksongs. Russian writers and artists at the beginning of the 20th Entitled “Mulher” (“Woman”), it starts with an ominous century were endlessly fascinated by the of pre- introduction that indicates the tragic context of the Christian times. Medieval literature and contemporary folk melodies, developed in turn by the orchestra peasant folklore were thoroughly searched for clues and the soloist who finally blend their voices as the about paganism, and several artists, including the movement approaches its somber conclusion. In the poet Sergei Gorodetsky and the painter Nikolai second movement (“Moderato”), the free melody of Roerich, became experts on the subject. Stravinsky the gaita unfolds against an ostinato accompaniment. had set two poems by Gorodetsky in 1907-08, three The music becomes more and more agitated until it years before the beginning of his collaboration with dissolves in a passage filled with eerie noises as the Roerich on what would become The Rite of Spring. first flautist switches to an ocarina and the first horn player, according an instruction in the score, “place[s] Thus, paganism was “in,” and the possibility that the the mouthpiece backwards on the instrument and ancient Russians may have engaged in human sacrifice blow[s] through it.” The wailing gaita receives a captured the imaginations of many at the time. tension-filled counterpoint from a pair of trombones (Incidentally, this hypothesis was never proven, but before the ostinatos return for the energetic ending. the burning of straw effigies, documented in modern The last movement is called “Elas” which means “they” folklore, was seen as a vestige of sacrificial practices.) or “them” in the feminine. Here again, the lively sounds Therefore, the dream that Stravinsky told about in his of the gaita are set against some dark orchestral autobiography was a very timely one indeed: accents and wild percussion rhythms that leave no doubt about the historic struggle that lies at the heart One day, when I was finishing the last pages of of the composition. The Firebird in St. Petersburg, I had a fleeting vision which came to me as a complete surprise, * Osvaldo Golijov set a poem by Rosalía de Castro in my mind at the moment being full of other things. his Three Songs, performed by Dawn Upshaw and the I saw in imagination a solemn pagan rite: sage CSO in 2016. elders, seated in a circle, watched a young girl dance herself to death. They were sacrificing her to Duration of completed work: 18:00 propitiate the god of spring. CSO premiere As Richard Taruskin has shown in his monumental The Rite of Spring: Pictures of Pagan two-volume biography of Stravinsky, the composer Russia in Two Parts (1913) provided the germinal idea for at least the last scene by (Oranienbaum, nr. St. Petersburg, 1882 – of the ballet, and Roerich, with his vast knowledge of New York, 1971) ethnological and archeological writings, helped create reduced orchestration by Jonathan McPhee an authentic scenario. It was to be a ballet “devoid of plot in the conventional sense, one that would not It all began like just another show for Serge Diaghilev’s narrate its action but depict it pure, not represent it Paris-based company, the Ballets Russes. Diaghilev’s but present it....[It] would not tell a story of a pagan magic formula, the combination of virtuoso dancing ritual; it would be that ritual.” Stravinsky and Roerich with the exotic appeal of far-away Russia, had worked seem to have decided together that the “Great wonders with French audiences before; in addition, Sacrifice” should be preceded by a celebration of the two previous productions, The Firebird and Petrushka, Earth, with traditional ritual games re-enacted onstage had revealed to the world the company’s young star and culminating in a wild stomping dance. composer, Igor Stravinsky. But this time—maybe somewhat unexpectedly even for those involved—a few In its final form, the scenario incorporates a number important lines were crossed, with implications that of allusions to ancient Russian folk rituals, and did not become clear until years later. accordingly, the music relies heavily on ancient

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Russian folk songs, taken from published collections. this remarkable evening may be found in Thomas F. This is important to emphasize because in later years, Kelly’s excellent book First Nights.) It is unclear how anxious to project a “cosmopolitan” image, Stravinsky much of the uproar was due to the music, and how went to great lengths to deny the presence of any much to Nijinsky’s choreography. How many people original folk material in The Rite. in the audience reacted to the musical and artistic revolution manifest in the work? And how many were The following summary of the action, apparently simply being manipulated and swept away in the written by the composer himself, was published in the universal brouhaha? We will never know. Yet in this program for the Moscow concert premiere in 1914: ballet the sounds of a brute force attacked the calm, apparently untroubled prosperity of the Parisian belle Scenes of pagan Russia, united inwardly by the époque like an army of barbarians. A year later, that mystery of the great upsurge of all the creative belle époque was shattered forever by the cannons of powers of Spring... World War I. Part I: The Kiss of the Earth. The celebrants of After the end of the war, The Rite of Spring quickly Spring are seated on hills. They blow dudki [reed became established in the West as a modern pipes]. Youths learn the art of divination from an classic—a work whose time had indeed come. (In fact, old woman who knows all the secrets of Nature. its triumph had begun before the outbreak of the war, Young maidens, costumed and with painted faces, in April 1914, with the Paris concert premiere led by come from the river in single file. They dance the Pierre Monteux, who had also conducted the work Spring Dance. This is followed by the Game of at the ballet.) No composer has been able to avoid Abduction and the Spring Rounds, for which the coming to terms with The Rite, one way or another, ever youths divide into different tribes that attack since. Yet Russia for a long time failed to appreciate each other. An opening is cleared for the Eldest this profoundly Russian work. Indeed, the work’s and Wisest, who enters at the head of a religious vehement rejection by Russian critics precipitated procession. The games stop and the people wait, the final break between Stravinsky and his native trembling, for the blessing of the earth. The Eldest country. While Stravinsky became, in Taruskin’s words, makes a sign to kiss the earth and everyone dances, “the uncrowned king of French music,” “as a ’Russian stomping the earth. composer’ [he] was finished.” Part II: The Great Sacrifice. Night. The maidens Part I begins with a solo written in the perform secret games and group themselves in instrument’s highest register that, with its unusual tone circles. One of the maidens is chosen for the color, immediately creates a mysterious atmosphere. Sacrifice. Fate points to her twice: twice she is The melody itself is derived from a Lithuanian folksong, caught in one of the circles without an exit. The but Stravinsky had totally changed the character of maidens dance a martial dance honoring the the original. He was obviously less interested in literal Chosen One. The Invocation of the Ancestors. fidelity to the source than in a creative transformation The maidens bring the Chosen One to the Elders, of his originals into something far more profound and the Sacrificial Dance begins before the Eldest and powerful. and Wisest. The bassoon melody is answered by other woodwind The Paris premiere of the Rite of Spring, on May 29, instruments playing short and poignant themes. After a 1913, went down in history as one of the greatest fortissimo climax, the bassoon solo returns, interrupted scandals ever to have erupted over a new piece of this time by some violin pizzicatos (plucked notes) music. The performance was nearly drowned out by that lead into the next section, “Auguries of Sping shouted insults, catcalls, slaps in the face, and a (Dances of the Young Girls).” This movement is based general pandemonium. (A detailed description of on a rhythmic ostinato (constantly recurring rhythmic

bravo MARCH/APRIL 2020 31 PROGRAM NOTES pattern) consisting of equal eighth-notes in the violins; Part II (“The Sacrifice”), like Part I, begins with a slow within the groups of four eighth-notes, however, the introduction. Against a tapestry of lush woodwind emphasis is constantly shifting. The result is a highly sonorities, a tenderly lyrical pentatonic theme emerges irregular and totally unpredictable rhythm, over that bears a certain resemblance to the great Russian which the winds introduce their mostly symmetrical, melodies of The Firebird and Petrushka. This is also folksong-like melodies. the main melody of the next section, “Mystical Circles of the Young Girls,” which starts with six solo violas. The next section, “Game of Abduction,” has a A new theme soon appears in the alto flute, repeated, pentatonic theme (playable on the piano’s black keys). in a quite unusual manner, in parallel sevenths. It The notes are oll of equal length but their grouping is is during this mystical slow movement that one of again irregular. “Spring Rounds” starts with another the girls is chosen for the sacrifice. Her selection is pentatonic melody played by the clarinets, followed by announced by 11 drumbeats, immediately followed by a slow, march-like section in which a string ostinato her glorification in a quick movement of great rhythmic is set against a highly expressive melody played by complexity. In the “Evocation of the Ancestors,” the four solo violas (we heard it earlier on the trumpets, entire wind section repeats two chords in the same but note how orchestration and tempo change a rhythm, in a somewhat chorale-like fashion; the melody’s character!). Piccolo and E-flat clarinet add ancestors make their entrance with an eerie-sounding their piercing and doleful counterpoint. The melody duo of the English horn and the alto flute to the soft is repeated fortissimo by the entire orchestra, only rhythmic accompaniment of the strings and percussion. to be interrupted by a high-pitched flute signal that Musically and dramatically, this is the preparation for announces a new tempo and an intensification of the grand finale, the “Sacrificial Dance,” whose wild the dance. The slow clarinet melody that started the accents surpass in boldness everything heard before. movement returns at the end. The irresistible energy of this movement never lets up until the quite unexpected ending. “Games of the Rival Clans” is based on a melody that is played alternately by different groups of instruments At the present concerts, we will hear the Rite in an (such as violins as opposed to horns, for example). unusual form, in a reduced orchestration prepared In the midst of these relatively quick-paced melodies, by conductor/arranger Jonathan McPhee. This a slow and ponderous theme makes its unexpected arrangement was made for staged performances appearance in the and bass tubas. It is the of the ballet where the pit is not large enough theme of the Eldest and Wisest, who in the next to accommodate the giant orchestra Stravinsky section (“Procession of the Wise Elder”) takes center required. The use of the McPhee version in concert stage as the entire orchestra adds various ornamental performances is authorized by Stravinsky’s publisher figures to the solemn and austere brass melody. Boosey & Hawkes only in the United States. After four mysterious and suspenseful measures (“Adoration of the Earth–The Wise Elder”), the “Dance Duration of completed work: 32:00 of the Earth” begins. Over a relentless ostinato in Last CSO performance(s) of work: 3/22-24/2013 the bass, the rest of the orchestra strikes repeated with Jean-Marie Zeitouni, conductor chords in irregular groupings, gradually raising the volume to a quite literally “earth-shattering” climax, at Notes by Peter Laki which point the music abruptly stops.

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FRIDAY, APRIL 17, 2020, 7:30 PM SATURDAY, APRIL 18, 2020, 7:30 PM BEETHOVEN AT 250: THE NINTH SYMPHONY OHIO THEATRE Rossen Milanov, conductor Meroë Khalia Adeeb, Quinn Middleman, mezzo-soprano Dennis Shuman, tenor Brent Michael Smith, bass Columbus Symphony Chorus Ronald J. Jenkins, chorus director • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

GIUSEPPE VERDI Stabat Mater

INTERMISSION

LUDWIG VAN BEETHOVEN Symphony No. 9, Op. 125, D minor (Choral) I. Allegro ma non troppo; un poco maestoso II. Molto vivace III. Adagio molto e cantabile IV. Presto - Allegro assai - Allegro assai vivace

THIS CONCERT IS DEDICATED IN MEMORY OF CATHERINE “KAY” GRAF. THIS CONCERT AND CONTINUED SUPPORT FOR THE COLUMBUS SYMPHONY CHORUS IS MADE POSSIBLE BY LONGTIME FRIEND OF THE COLUMBUS SYMPHONY, ANNE H. MELVIN.

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bravo MARCH/APRIL 2020 35 RONALD J. JENKINS, conductor

at the Schottenstein Center, and a special Choral Concert, Songs of Hope and Comfort, April 3, 2020, which will include Durufle’s Requiem and other 20th and 21st century choral works. From September 1973 until January 2019, he served as the Minister of Music and Liturgy of the 3,400 member First Community Church in Columbus. In that position, he was responsible for two choirs, a staff of singers, conductors and organists, the church’s concert series, and coordinated worship/liturgy, art enrichment, and special events, including the annual fall services of music and the word, A native of St. Louis, Ronald Jenkins has Soli Deo Gloria, the Festival of Lessons and been conductor of the Columbus Symphony Carols on Christmas Eve, and the season- Chorus and Chamber Chorus since 1982. concluding “MorningSong,” all with choir and He conceived the idea for the CSO’s popular members of the CSO and CSC. He directed Holiday Pops concerts and has conducted the Chancel Choir on three European tours, those annual performances since their at the National Cathedral in DC, and the beginning in 1983. In 2010, he conducted Chamber Singers in Naples, Florida. On the the CSO’s first complete performances of third European tour in June of 2013, he led the Handel’s Messiah, which were lauded for choir in concerts in Berlin, Leipzig, Dresden, their “quick pacing and brisk tempos” and Prague, and Salzburg, gaining rave reviews for the chorus, which “was superbly balanced their performance of Mozart’s “Missa Longa” and in tune and obviously well-rehearsed and with the Salzburg, Cathedral orchestra. He confident.” He also prepared the chorus for produced and directed eight recordings of the their Carnegie Hall debut with the CSO in the Chancel Choir and demonstrated his piano spring of 2001, where the New York critics keyboard skills in a popular duo recording praised the “choral singing of impeccable of Gospel Hymns with retired CSO trumpeter realization and subtle shading.” Tom Battenberg. This season he prepared the chorus for the He has served as the Assistant Choral powerful and highly-acclaimed Midwest Director at Washington University, visiting premiere of Moravec’s Sanctuary Road, as Choral Director at Denison and Ohio Wesleyan well as a concert presentation of Gershwin’s Universities, and led choral workshops for Porgy and Bess on October 11 and 12, Trinity Seminary and various professional and then the Chamber Chorus for Handel’s organizations. He holds degrees from William Messiah on November 23 and 24, and will Jewell College and Florida State University. He prepare the chorus for Verdi’s Stabat Mater has also done extensive post-graduate study at and Beethoven’s Symphony No. 9 on April Washington University and studied conducting 17 & 18, 2020, all under Rossen Milanov’s at the Tanglewood Music Festival. In 1985, he direction. Jenkins also will prepare and received the Columbus Dispatch Community conduct the chorus and orchestra in four Service Award for the Advancement of Culture. th performances of the 36 annual Columbus In May, 2015, he was granted the Honorary favorite, “Holiday Pops” December 6, 7 and 8, Doctor of Divinity degree from Trinity Seminary, a concert with Andrea Bocelli on December 14 Bexley, Ohio.

bravo MARCH/APRIL 2020 36 THE COLUMBUS SYMPHONY CHORUS

Ronald J. Jenkins, director Casey Cook, accompanist Andrew Shadwick, chairperson

SOPRANO I ALTO I TENOR I BASS I Dawne Knoch Anthony Leslie Armstrong E. Wade Barnes, Jr. Matthew Barbour Sadiyah Babatunde Aubrey Bailey William B. Catus III Raymond I. Cho Shelly Rose Beaty Kelli Clawson Frank E. Forsythe Steve Crawford Laura Byars Kailey Coulter Hector Garcia Terry Alan Davis Alexa Clossin Deborah Forsblom Erick Garman William B. Davis Rachel Dalton Suzanne B. Fryer Greg Grant Gary Everts Andrea Dent Savannah Gonsoulin Dustin Jarred Scot Helton Melissa A. Fata Allison Graham Dameon Jones Daniel F. Henrie Margaret F. Fentiman Lauren Grangaard Arthur Marks Jacob Hoverman Pamela Lester Sandra Mathias Phil Minix Jared Joseph Courtney Neckers Anna Newman-Griffis Kevin A. Mulder James Legg Melinda Patterson Cassandra Otani Colby Roseberry Sam Majoy Gail Gilbert Storer Wendy Rogers Craig Slaughter Michael Malone Emily Weatherspoon Hannah Rowlands Denis Newman-Griffis Jennifer C. Young Katharine Thornton TENOR II Connor Alan Notestine Anna Weber Mark G. Bonaventura Dominic Straquadine SOPRANO II Rachelle P. White Andrew Doud Stephen E. Stumphauzer Elizabeth Arteta Kathryn Willer Roger Gill C. Nicholas Tepe Elizabeth A. Jewell Becker Nicolas Gonzalez David Zach Emma L. Brown ALTO II Andrew Grega Alexandra Buerger Hannah Bachmann Ernest Hoffman BASS II Jennifer Cahill Dorothy Barnes Ryan Masterson William R. Alsnauer Kathryn Ehle Amy L. Beck Matthew Norby Hugo Blettery Ruth Hall Gwen Carmack Tim Owens Tracy Ediger Alexandria Konstantinos Kari Clevidence Paul Ricketts Ronald Edwin Jennings, Jr. Miriam Matteson Katarina Steven Sulainis Frederick Loyd Susan Meyer Cochrane-Yamaguchi Dwayne Todd Robert I. Moreen Gretchen Koehler Mote Susan Garcia Ed VanVickle Andrew Shadwick Amy Adele Parker Lisa Kennedy Daniel Willis Charles St-Georges Anabella Petronsi B.J. Mattson Thom Wyatt Donald Swartwout Halle Shadrake Jane L. Matyskella Michael Toland Kristin Smith Janet Mulder James Tompsett Cassandra Summers Amy Weiner Nathans Bruce Turf Sharon Wilson Doris Oursler Keith Whited Chelsea Winebrener Debbie Parris Peter Woodruff Mary Lucas Yarbrough Lisa Peterson Rose A. Wilson-Hill

bravo MARCH/APRIL 2020 37 MEROË KHALIA ADEEB, soprano

under the baton of Maestro Vlad Iftinka at Tri-Cities Opera. Another favorite has been Clara in Porgy and Bess, under the baton of John Demain and the direction of Francesca Zambello at the Glimmerglass Festival. Other roles include Nannetta in Falstaff, Donna Elvira in Don Giovanni, Gilda in Rigoletto, and Bard 2 in Ben Moore’s Odyssey. In addition to preforming operatic roles, Ms. Adeeb has enjoyed competing in vocal competitions. She won third place in the Mid-Atlantic region of the Metropolitan Opera National Council

© PaulSirochman auditions, second place in the Deborah Voigt/ While pursuing a Sales & Marketing degree Vero Beach Opera Foundation Inaugural at Tuskegee University, Meroë Khalia Adeeb International Vocal Competition, and second realized that singing in the university choir place in the PARTNERS for the Arts Vocal would not sustain her love for performing Competition to name a few. after graduation. Her path led her to Louisiana Recently, Ms. Adeeb performed the title role State University, where she began classical in Puccini’s Suor Angelica at Tri-Cities Opera, training, and continued on to Binghamton Annie in the world premiere of The Flood at University in New York for her Master’s degree. Opera Columbus, Frasquita in Carmen with Through the years she has enjoyed performing Annapolis Opera, and Clara in Porgy and some of the most important soprano roles in Bess with Fort Worth Opera. Ms. Adeeb was the operatic repertoire. Two of her favorites born in Los Angeles, and grew up in Accokeek, thus far have been Violetta in La traviata Maryland, where her family still resides. and Mimì in La bohème, both performed

bravo MARCH/APRIL 2020 38 QUINN MIDDLEMAN, mezzo-soprano

Past roles include Songe in Marin Marais’ Ariane et Bachus (Haymarket Opera Company), Doris/Witness 3 in the Midwest premiere of Kevin Puts’ Elizabeth Cree (Chicago Opera Theater), soloist in Handel’s As Pants the Hart (Third Coast Baroqueas), Rachel in the world premiere of The Great God Pan (Chicago Fringe Opera). In 2017-2018, she was a Young Artist with Chautauqua Opera, and was named a winner of the Metropolitan Opera National Council Auditions-Wisconsin District. Quinn was a Bonfils-Stanton Foundation Artist at Central City Opera in Colorado in 2017. Quinn performed alongside Dawn Upshaw, Praised for her “expressive” and “persuasive” Sanford Sylvan, John Harbison, Lucy Shelton, performances, mezzo-soprano Quinn and Kayo Iwama as a Fellow at the Tanglewood Middleman is equally at home on the operatic Music Center in 2015 and 2016. She received and concert stages, and maintains a wide many accolades for singing the world premiere variety of repertoire, ranging from early music to of Harold Meltzer’s Variations on a Summer Day bel canto to world premieres. Her background for the Tanglewood Festival of Contemporary as a professional orchestral and solo oboist Music in 2016, and in 2015 sang in the adds to her musical integrity and interpretation premiere of Yehudi Wyner’s Sonnet: In the on the operatic stage. Arms of Sleep. In the 2018-2019 season, Quinn returned As a concert artist, Quinn’s repertoire to Chicago Opera Theater, covering Marta in includes Mendelssohn’s Elijah, Shostakovich’s Tchaikovsky’s Iolanta and singing Mother in Symphony No. 14, Bach’s St. John Passion, The Scarlet Ibis by Stefan Weisman and David Walton’s Façades, Mozart’s Requiem, Cote. This season, she will make her debut with Vivaldi’s Gloria, Handel’s Messiah, and St. Petersburg Opera, performing as Second Vivaldi’s Magnificat. Alms Sister and covering La Zelatrice and the Nursing Sister in Suor Angelica.

bravo MARCH/APRIL 2020 39 DENNIS SHUMAN, tenor

and Vanderdendur in Candide; and Gastone in La traviata, while covering Alfredo. He also sang the role of Gastone in La traviata with New Orleans Opera. Equally at home in concert repertoire, Mr. Shuman has sung the Evangelist in Bach’s Johannes-Passion at First Congregational Church of Columbus with the Chatham Baroque from Pittsburgh. He has also performed the role of the Celebrant in Bernstein’s Mass with Brandeis University, Wellesley College, and the Salisbury Singers of Worcester, MA. He received his undergraduate degree at the University of Minnesota-Duluth and a Master of Music Dennis Shuman grew up in a small town degree from Loyola University New Orleans, and in northwest Georgia. Recent engagements is a graduate of the Opera Institute at Boston include performances of Tamino in The Magic University. Favorite past roles include Albert Flute with Toledo Opera and Opera Grand in Albert Herring, Tenor in Hydrogen Jukebox Rapids. Mr. Shuman completed two seasons (Glass), Matthew Gurney in Emmeline (Picker), as an Apprentice Artist with Chautauqua Opera Basilio in Le Nozze di Figaro, Tenor in The War Company, where he was heard as Don Ottavio Reporter (Berger), Rinuccio in Gianni Schicchi, in Don Giovanni; the roles of Governor, Ragotski, and Ferrando in Cosí fan tutte.

BRENT MICHAEL SMITH, bass

In 2019, Brent debuted with Opera Philadelphia as Peter Quince in A Midsummer Night’s Dream, and returned as Tchélio in The Love for Three Oranges for the O19 Festival. In 2018, he debuted with the Santa Fe Opera as the Lakey in Ariadne auf Naxos while an Apprentice Artist. He returned in 2019 to cover Colline in La bohème and Drokan in the world premiere of The Thirteenth Child by Poul Ruders. In 2017, he debuted with Arizona Opera, The Glimmerglass Festival, and Toledo Opera. Brent is a former young artist of The Santa Fe Opera, The Glimmerglass Festival, Michigan Opera Theatre, Central City Opera, Des Moines Originally from Owosso, Michigan, Brent Michael Metro Opera, and Sarasota Opera. He received an Smith is a Resident Artist at the Academy of MM in vocal performance from the University of Vocal Arts, graduating in May 2020. At AVA, he Northern Iowa and his BM in piano performance has sung the roles of Fafner in Das Rheingold, from Hope College. He is a prize winner of Truffaldino in Ariadne auf Naxos, Don Alfonso the Grand Rapids Opera Competition (2012), in Così fan tutte, Frère Laurent in Roméo et Giargiari Bel Canto Competition (2018), Opera Juliette, and Figaro in Le nozze di Figaro. Birmingham Competition (2018), and Opera Brent joins the International Opera Studio of Index Competition (2018). He has received Opernhaus Zürich in 2020-2021. grants from the Loren L. Zachary Competition (2019) and the Young Patronesses of the Opera Competition (2019). PROGRAM NOTES

Stabat Mater (1896-97) counterpoint, and wrote in his own distinctive personal by Giuseppe Verdi (Le Roncole, Province of Parma, 1813 – style. After a long lifetime spent writing , he Milan, 1901) remained a man of the theater even when writing church music. Even though the Stabat Mater avoids Verdi’s Stabat Mater was the last music the the grand gestures of Verdi’s Requiem, it is striking octogenarian master ever wrote. It was published how the composer uses single words to create as the second of Quattro pezzi sacri (“Four Sacred dramatic situations in the poem. Pieces”), but these pieces are connected neither by their liturgical function nor by their performing forces The words of the Stabat Mater are attributed to the and are perhaps best performed separately. 13th-century Franciscan friar Jacopone da Todi. The poem belongs to the genre known as “sequence,” The medieval poem Stabat Mater—about the Virgin that is, a succession of stanzas where the melody Mary mourning her crucified son—was originally changed from one stanza to the next even in the chant chanted on the feast day of Our Lady of Sorrows version. Verdi’s version, in its compact form, draws (September 15). Since the Renaissance, it was a compelling arc from the mournful beginning to a frequently set to polyphonic music, in compositions transcendent vision of the “glory of Paradise.” Along that increasingly became grandiose, multi-movement the way, Verdi underscores the disquieting idea that it affairs. The best-known such work is probably the was the “sins of His people” that caused all of Christ’s Stabat Mater of Rossini, completed in 1841. Verdi, by suffering, and wrote highly evocative music for contrast, set the poem in a single movement, returning Christ’s death and the Day of Judgment, to mention th to an earlier practice best exemplified by the 16 - only two of the most memorable episodes that receive century version of Giovanni Pierluigi da Palestrina, for particular poignancy from the fact that this was indeed whose works Verdi had a great admiration. Yet Verdi Verdi’s final word as a composer. was not interested in imitating Renaissance

Stabat Mater dolorosa The grieving Mother stood Iuxta crucem lacrimosa weeping beside the cross Dum pendebat Filius, where her Son was hanging. Cuius animam gementem, Through her weeping soul, Contristatam et dolentem compassionate and grieving, Pertransivit gladius. a sword had passed. O quam tristis et afflicta O how sad and afflicted Fuit illa benedicta was that blessed Mother Mater unigeniti! of the Only-begotten! Quae moerebat et dolebat, Who mourned and grieved, Pia Mater, dum videbat the pious Mother, looking Nati poenas incliti. at the torment of her glorious Child. Quis est homo qui non fleret, Who is the person who would not weep Matrem Christi si videret seeing the Mother of Christ In tanto supplicio? in such agony? Quis non posset contristari, Who would not be able to feel compassion Christi Matrem contemplari on beholding Christ’s Mother Dolentem cum Filio? suffering with her Son?

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Pro peccatis suae gentis For the sins of his people Vidit Iesum in tormentis, she saw Jesus in torment Et flagellis subditum. and subjected to the scourge. Vidit suum dulcem natum She saw her sweet offspring Moriendo desolatum dying, forsaken Dum emisit spiritum. while He gave up his spirit. Eia Mater, fons amoris O Mother, fountain of love, Me sentire vim doloris make me feel the power of sorrow, Fac, ut tecum lugeam. that I may grieve with you. Fac, ut ardeat cor meum Grant that my heart may burn In amando Christum Deum in the love of Christ my Lord, Ut sibi complaceam. that I may greatly please Him. Sancta Mater, istud agas, Holy Mother, Crucifixi fige plagas grant that the wounds of the Crucified Cordi meo valide. drive deep into my heart. Tui nati vulnerati, That of your wounded Son, Tam dignati pro me pati, who so deigned to suffer for me, Poenas mecum divide. I may share the pain. Fac me tecum, pie, flere, Let me sincerely weep with you, Crucifixo condolere, bemoan the Crucified, Donec ego vixero. for as long as I live. Iuxta crucem tecum stare, I wish Te libenter sociare to stand with you beside the cross, In planctu desidero. eager to join you in lament. Virgo virginum praeclara, Chosen Virgin of virgins, Non sis amara, be not bitter, Fac me tecum plangere. let me weep with you. Fac, ut portem Christi mortem Grant that I may bear the death of Christ, Passionis fac consortem, share his Passion, Et plagas recolere. and commemorate His wounds. Fac me plagis vulnerari, Let me be wounded with his wounds, cruce hac inebriari, let me be inebriated ob amorem Filii. by the love of the Son. Inflammatus et accensus In flames and set on fire, Per Te, Virgo, sim defensus may I be defended by you, Virgin, In die iudicii. on the day of judgment.

bravo MARCH/APRIL 2020 42 PROGRAM NOTES

Christe cum sit hanc exire, Christ, when it will be my time to go, Da per matrem me venire Let me, through your Mother, Ad palmam victoriae. come to the palms of victory. Quando corpus morietur, When my body dies, Fac, ut animae donetur grant that to my soul be given Paradisi gloria. Amen. the glory of Paradise. Amen. (www.chantcd.com/lyrics/suffering_mother_stood. htm, with emendations) Duration of completed work: 12:00 CSO premiere Symphony No.9 (“Choral”) in D minor, The poem had preoccupied Beethoven since at least Op. 125 (1824) 1792: in that year, an acquaintance of the composer’s by Ludwig van Beethoven (Bonn, 1770 – Vienna, 1827) informed Schiller’s sister that

With the Ninth, Beethoven created more than a A young man…whose talents are universally symphony. Almost as soon as it was written, the Ninth praised…proposes…to compose Schiller’s Freude, became an icon of Western culture for at least two and indeed strophe by strophe. I expect something important reasons. Its message affirms the triumph perfect for as far as I know him he is wholly devoted of joy over adversity like no other piece of music has to the great and the sublime. ever done. Its revolutionary form, its unprecedented size and complexity and, above all, the introduction of Thus, all musical and literary roads converge in the the human voice in a symphony, changed the history Ninth Symphony. In a way, Beethoven was getting ready of music forever. The work’s import and the means by to write this work all his life. The actual compositional which it is expressed are both unique: each explains work took about a year and a half, from the summer of and justifies the other. 1822 through February 1824. Everything in Beethoven’s career seems to have Beethoven’s plans to set Schiller’s “Ode to Joy” prepared the way for this exceptional composition. It is began to take a new shape in 1816-17, around the the culmination of the so-called “heroic style,” known time he received a commission for a symphony from from Symphonies No. 3 and 5, among others. But it is the Philharmonic Society of London. At this point, he also the endpoint of a series of choral works with all- had two distinct compositions in mind—a new pair embracing, cathartic, and solemn endings. The series of symphonies similar to Nos. 5-6 (1807-08) or 7-8 began in 1790 with two cantatas on the death of (1811-12), which had also been conceived in pairs. Emperor Joseph II and the inauguration of Leopold II, But the Tenth Symphony never progressed beyond a respectively; the concluding chorus of the latter begins few sketches. The Ninth remained Beethoven’s last with the words Stürzt nieder, Millionen (“Fall to your work for orchestra. knees, ye millions”)—a close paraphrase of Schiller’s “Ode to Joy,” the text Beethoven used in the final Even though Beethoven had long planned to set the movement of the Ninth. The Choral Fantasy is certainly “Ode to Joy” to music, he long hesitated over whether the most direct precursor of the “Choral” Symphony, or not the last movement of a symphony was the but let it also be remembered that Beethoven’s only proper place for such a setting. After sketching the opera, Fidelio, contains another quote from Schiller’s choral finale, he appears to have had second thoughts poem in its final scene: Wer ein holdes Weib errungen… and jotted down ideas for a purely instrumental last (“A man who has found a gracious wife…”) movement, ideas he later used in his string quartet

bravo MARCH/APRIL 2020 43 PROGRAM NOTES in A minor, Op.132. He felt that the introduction of ever: the tensions keep increasing to the end. The voices needed special justification; the difficulties movement’s lengthy coda contains some material of a he experienced in crossing this particular bridge can highly dramatic character; it ends on a climactic point, be seen from the many stages the introduction went without a feeling of resolution. through in the sketches. At one point, for instance, the rejection of the themes from the first three movements The first movement is followed by a scherzo; this order was entrusted to a singer (not the cellos and basses is unusual in symphonies, though not uncommon in as in the final version). The singer, after dismissing chamber music. Beethoven refrained from using the the scherzo as Possen (“farce”) and the Adagio as word “Scherzo” here, however, because the mood is “too tender,” exclaimed: “Let us sing the song of the dramatic rather than playful. It is based on a motif immortal Schiller!” of only three notes, played in turn by the strings, the timpani (specially tuned at an octave instead of the In the end, the “song of the immortal Schiller” was set usual fourth), and the winds. The motif is developed in in a form far removed from the original “strophe by a fugal fashion, with subsequent imitative entrances— strophe” notion Beethoven is supposed to have had this fugal theme appeared in Beethoven’s sketchbook back in 1792. He adopted only four of Schiller’s eight as early as 1815. Through the addition of a second strophes, freely repeating and rearranging the lines. theme, contrasting with the first, the scherzo is (Schiller himself had published a revised version of his expanded into a sonata-like structure of considerable poem in 1803, and it is that version that Beethoven proportions. The Trio, or middle section, switches from now used.) triple to duple meter, and from D minor to D major, anticipating not only the key of the finale but the The opening of the symphony, with its open fifths outline of the “Ode to Joy” theme as well. For the played in mysterious string tremolos (rapid repeated first time, we reach a haven of peace and happiness notes), has been described as representing the that foreshadows the finale. But for the moment, the creation of the world, as the theme emerges from Trio is brushed aside by the repeat of the dramatic what seems an amorphous, primordial state. There “Molto Vivace.” At the end, Beethoven leads into the is an atmosphere of intense expectancy; the tension trio a second time, but breaks it off abruptly, to end continually grows until the main theme is presented, the movement with two measures of octave leaps in fortissimo, by the entire orchestra. It is significant that unison. According to one commentator, this ending the mysterious opening is immediately repeated, as it suggests an “open-ended” form that could “move back will be two more times in the course of the movement, and forth between scherzo and trio endlessly.” In other significantly prolonging the sensation of suspense. words, we cannot at this point tell for sure whether the The main theme is moved into a new key the second final outcome will be tragic or joyful. time, and into an unexpected one at that. The first movement of a D-minor symphony normally gravitates First, there is one more stage to complete: the upward toward F major. Beethoven chose a descent sublime third-movement Adagio, one of Beethoven’s to B-flat instead (incidentally, B-flat will also be the most transcendent utterances. It has two alternating key of the symphony’s slow movement). The Allegro melodies: one majestic, the other tender. Each follows the outlines of sonata form, but the individual recurrence of the first theme is more ornate than stages of that form do not quite function the usual the preceding one while the second theme does not way. In traditional sonata form (Mozart, for instance), change. The movement culminates in a powerful brass the tensions that build up in the development section fanfare, followed by a wistful epilog. are resolved in the recapitulation. In the Ninth Symphony, a tendency present in several works from Beethoven’s middle period becomes stronger than

bravo MARCH/APRIL 2020 44 PROGRAM NOTES

We are jolted out of this idyll by what, in 1824, The second major section of the movement starts must have counted as the most jarring dissonance here, with the scherzo-like “Turkish march” for tenor ever written. Wagner referred to this sonority as the solo and a battery of percussion instruments. It Schreckensfanfare (“fanfare of horror”), and, at the has been dubbed the “Turkish march” because of a opening of the finale, it forcefully suggests that we musical style influenced by the Turkish janissary bands have arrived at a point where all previous rules break popular in Vienna at the time (the same influence can down. We can no longer predict the future on the be found in several works by Mozart, including the basis of the past; what follows has absolutely no opera The Abduction from the Seraglio). The theme of precedent in the history of music. the “Turkish march” is, of course, a variation on the “Ode to Joy” melody. This episode is followed by an In his book on the Ninth Symphony (published by orchestral interlude in the form of a fugue, also based Schirmer in 1995), David Benjamin Levy interprets on the “Ode to Joy.” The melody is recapitulated in its the finale as a four-movement symphony in its original form by the orchestra and chorus, and then own right that mirrors the four movements of the the music stops again. Ninth Symphony itself (opening, scherzo, slow movement, finale). In the third section (the “slow movement”), the men from the chorus introduce a new theme After the fanfare, Beethoven begins the first of these (Seid umschlungen, Millionen). If the “Ode” celebrated sections by evoking the past: the themes of the first the divine nature of Joy, this melody represents the three movements appear, only to be emphatically Deity in its awe-inspiring, cosmic aspect. Whereas rejected by the dramatic recitative of the cellos and the first theme proceeded entirely in small steps, basses. The first two-measure fragment of the “Ode the second one is characterized by wide leaps; this to Joy” theme, however, is greeted by a recitative in a sudden expansion in the dimensions of the melody completely different tone as the tonality changes to a conjures up a sense of the infinite and God’s throne bright D major. above the starry skies. The “Ode to Joy” theme is first played by the cellos and The last section begins with the two themes heard basses without any accompaniment. It is subsequently simultaneously in what David Levy calls a “symbolic joined by several countermelodies (including a contrapuntal union of the sacred and the profane.” The particularly striking one in the bassoon) and finally solo quartet returns to the first strophe of Schiller’s repeated triumphantly by the entire orchestra. Then poem; once more, the music starts anew to rise to the music suddenly stops and the Schreckensfanfare new heights of joyful energy. Three slow sections unexpectedly returns, followed by the entrance of intervene to delay this final ascent; the second of the baritone soloist who takes up the last phrase of the these (an Adagio cadenza for the four solo singers) earlier instrumental recitative to lead into the vocal momentarily brings back memories of the symphony’s presentation of the “Ode to Joy.” As before, during the slow movement. But finally, nothing can stop the music instrumental variations, the melody grows and grows from reaching a state of ecstasy. After the last unison D in volume and excitement until (at the words Und der in measure 940, the journey is completed and there Cherub steht vor Gott) there is a new interruption. is nothing left to say.

bravo MARCH/APRIL 2020 45 PROGRAM NOTES

O Freunde, nicht diese Töne! O friends, not these sounds! Sondern lasst uns angenehmere anstimmen, Let us sing more pleasant and more joyful und freudenvollere. ones instead! Freude, schöner Götterfunken, Joy, beautiful divine spark, Tochter aus Elysium, daughter from Paradise, Wir betreten feuertrunken, We enter, drunk with fire, Himmlische, dein Heiligtum. Heavenly One, into your sanctuary. Deine Zauber binden wieder Your magic reunites what daily life Was die Mode streng geteilt, Has rigorously kept apart, Alle Menschen werden Brüder All men become brothers Wo dein sanfter Flügel weilt. Wherever your gentle wings abide. Wem der grosse Wurf gelungen, Anyone who has beene greatly fortunate Eines Freundes Freund zu sein, To be a true friend to a friend, Wer ein holdes Weib errungen, Each man who has found a gracious wife, Mische seinen Jubel ein! Should rejoice with us! Ja, wer auch nur eine Seele Yes, anyone who can claim but a single soul Sein nennt auf der Erden rund! As his or her own in all the world! Und wer’s nie gekonnt, der stehle But anyone who has known none of this, Weinend sich aus diesem Bund. must steal away, Weeping, from our company. Freude trinken alle Wesen All beings drink of Joy An den Brüsten der Natur, At Nature’s breasts, Alle Guten, alle Bösen All good creatures, all evil creatures Folgen ihrer Rosenspur. Follow her rosy path. Küsse gab sie uns und Reben, She has given us kisses and vines, Einen Freund, geprüft im Tod, A friend loyal unto death, Wollust ward dem Wurm gegeben, Pleasure has been given to the worm, Und der Cherub steht vor Gott. And the angel stands before God. Froh, wie seine Sonnen fliegen Happily, as his suns fly Durch des Himmels prächt’gen Plan, Across the sky’s magnificent expanse, Laufet, Brüder, eure Bahn, Hurry, brothers, along your path, Freudig, wie ein Held zum Siegen. Joyfully, like a hero to the conquest. Seid umschlungen, Millionen! Be embraced, you millions! Diesen Kuss der ganzen Welt! This kiss for the entire world! Brüder! überm Sternenzelt Brothers–beyond the starry canopy Muss ein lieber Vater wohnen. A loving Father must dwell. Ihr stürzt nieder, Millionen? Do you fall on your knees, you millions? Ahnest du den Schöpfer, Welt? Do you sense the Creator, world? Such ihn überm Sternenzelt, Seek Him above the starry canopy, Über Sternen muss er wohnen. Beyond the stars must He dwell. Duration of completed work: 1:07:00 Last CSO performance(s) of work: 10/5/2012 with Jean-Marie Zeitouni, conductor Notes by Peter Laki

bravo MARCH/APRIL 2020 46 bravo MARCH/APRIL 2020 47 bravo MARCH/APRIL 2020 48 bravo MARCH/APRIL 2020 49 bravo MARCH/APRIL 2020 50 COLUMBUS SYMPHONY

BOARD OF TRUSTEES STAFF OFFICERS executive Lisa Barton, Chair Denise Rehg, Executive Director Robert E. Morrison, Jr., Vice Chair Stephanie Davis Wallace, PhD, Alan Litzelfelner, Treasurer Chief of Staff Amy Shore, Secretary artistic operations Daniel Walshaw, Vice President of Operations TRUSTEES and Artistic Planning Katelyn Rush, Kurt Bendeck Community Outreach and G. Ross Bridgman Business Development Elizabeth Graiser, Robert Cochran Artistic Operations Associate Michael P. Foley Evan Gidley, Personnel Manager Kenneth M. Freedman Jean-Etienne Lederer, Principal Librarian Hector Garcia Jacqueline Meger, Jack George Library Assistant John Host, Marilyn Harris Stage Manager Cindy Hilsheimer development Terry Hoppmann Stéphanie McManus, Eric T. Johnson Vice President of Development Carl P. McCoy, Michelle Kerr Development and Analytics Manager Susan Ropp, Talvis Love Foundations and Grants Manager Varun Mahajan, MD, DABR education David Milenthal Jeani Stahler, Skip Prichard Director of Education Meghan McDevitt, Betsy Schumacher Youth Orchestras Manager Christine Shumway Mortine finance Joseph Sofia John Callahan, Chief Financial Officer Gay Su Pinnell Linda Matheis, Steve Snethkamp Accountant Michael Weiss marketing Nelson Yoder Kathy Karnap, Vice President of Marketing Holly Wiencek, Marketing Manager EX-OFFICIO TRUSTEES Lydia Miller, Constance J. Bauer Digital Content and Video Specialist Rose Hume publicity & media inquiries Karl Pedersen Rolanda Copley, Publicist David Thomas ticketing Brandon Smith, HONORARY TRUSTEES Ticketing Specialist Mark Duellman, Ronald A. Pizzuti Subscription Sales & Ticketing Assistant Zuheir Sofia

bravo MARCH/APRIL 2020 51 bravo MARCH/APRIL 2020 52 FRIENDS OF THE COLUMBUS SYMPHONY

Supporting the Symphony has never been so fun. As the founding organization for the Columbus Symphony, the Friends of the Columbus Symphony (formerly known as the Women’s Association of the CSO) has been involved since 1951 with promoting symphonic music, volunteering, fundraising and hosting receptions for the musicians, chorus, and staff.

Ann and Mark Allen Donna and Ed Gerhold Michelle E. Lewis Jeannine Ryan Lois H. Allen Pat Gibboney Jocelyn Lieberfarb Nancy Savage Mary Austin Valerie Gibbs Barry Liss Ernette Schultz Allen Baker Barbara E. Goettler Donna Lyon Lois Sechler Patricia Barton Barna Graves Susan J. Mancini Marilyn Smith Mary Beitzel Sandy Green Janet Mann Pat Sprouse Rhoma Berlin Scott and Anne Griffin Janice Marks Vera Spurlock Mary and Mike Bissell Helen Hall Marianne Mathews Libby Stearns Kathie Boehm Anne Highland Sandra Mathias Evelyn Stevens Jean Borghese Diane Hockman Sondra A. Matter Eleanor Stottlemyer Ruth Brown Betty Holland Deborah Norris Matthews Leslie Swanson Bob Butters Jacqueline Holzer Eloise McCarty Louise Swanson Dorothy Loew Cameron Lois and Roland Carl P. McCoy Jan Teter Louise Carle Hornbostel Jane and Ken McKinley Angela M. Thomas Patricia Carleton Rose Hume and Jim Dunn Barbara McSheffery Muriel Tice Donna Cavell Susan Hutson Peggy Merrill Claryss B. Tobin Ann Christoforidis Darlene Jones Betsy Mincey Caryl Trittipo Barbara L. Chuko Penny Jones Janice G. Minton Martha Tykodi Pamela J. Conrad Gisela Josenhans Gretchen Mote Georgia L. Verlaney Patricia Cooke Melba Kabelka Barbara McAdam Muller Al Waddell Janet Cox Dianne Keller Sandy Murray Jan Wade Clara Davison Karen Kennedy Laurie Navin Shirley Wagner Sidney Dill Gene Klingler Jutta Neckermann Stephanie Davis Wallace Monica Dunn Lenna and Tom Klug Betsy Nichols Joan Wallick Jeanine Ellis Nancy Koeninger Therese Nolan Barbara Weaver Mary Jane Esselburne Nancy Kolson Jeannine Palmer Eloise Weiler Patricia Evans Denise Kontras Carolyn Patch Marilyn P. Wenrick Mary Lou Fairall Barbara Lach Ilona Perencevich Cynthia Woodbeck Nancy Fisher David Lambert Katie Potter Sally Woodyard Joan Foucht JoAnne Lang Sandra Pritz Mary Lou Wright The Rev. Earl and Sarah Larrimer Victoria Probst Marjorie Wylie Pauline Fritz Mary Lazarus Tricia Raiken Carol Zanetos Janette Gearing Nancy Lee Denise Rehg Laura Geil Leah Levinson Maryann Rinsch

bravo MARCH/APRIL 2020 53 COLUMBUS SYMPHONY LEAGUE

The women of the CSL are a diverse group from a variety of professional and community service backgrounds. All share a love of music and enthusiasm for helping the Columbus Symphony remain a vibrant part of our community. Formed in 1981 specifically to raise funds for the CSO, the group has raised approximately $1,300,000 for special CSO projects and programs, including the Endowment of the Principal Harp Chair.

ACTIVE MEMBERS Darlene Jones SUSTAINING MEMBERS Constance Bauer Christine Kesler Sharon Beck Jean Bay Jacqueline Lundberg Susan Berry Marcia Bennett Peggy Malone Martie Bullock Connie Cahill Sharie McQuaid Pam Conley Diana Chappell Frances Monfort Mary Greenlee Lyn Charobee Barbara Muller Marilyn H. Harris Barbara Clark Julie Owens Victoria Hayward Chris Close Carol Paul Estelle Knapp Susan Cochran Colette Peterson Rachel Mauk Judy Connelly Sally Pilcher Jane McMaster Lorie Copeland Gay Su Pinnell Marilee Mueller Louise DiMascio Diane Prettyman Gerri Peterman Amy Drake Joy Reyes Denise Rehg Phyllis Duy Connie Ricer Patricia Smith Nancy Edwards Marie Ricordati Deb Susi Kathy Faust Lyn Savidge Leah Tsamous Marion Fisher Paulette Schmidt Sandy Willetts Belle Francisco Jude Swanson Donna Gerhold Jennifer Tiell Cathy Griffin Mary Weatherwax Carol Huber Gwen Weihe Amelia Jeffers

bravo MARCH/APRIL 2020 54 FUTURE. INSPIRED.

The Future. Inspired. endowment campaign recognizes patrons who have advised the Development Office that they have made or are making provisions for a planned or living gift to the Columbus Symphony of $5,000+. By making a gift to the permanent endowment, you are demonstrating a commitment to transforming lives in central Ohio with symphonic music. Thank you for supporting the bright future of our orchestra. Anonymous (5) Marilyn H. Harris Gay Su Pinnell American Electric Power Cindy and Larry Hilsheimer Anne Powell-Riley Paul and Tere Beck The Jeffrey Company Howard and Sandra Pritz Pat and Ross Bridgman Mr. Eric T. Johnson and Denise Rehg Robert V. Byrd Dr. Rachel G. Mauk Merry Ann L. Sauls Janet L. Cox Douglas and Darlene Jones Robert and Ann Shelly CSO Musicians Outreach Fund Patricia Karr George and Patricia Smith of The Columbus Foundation Ken and Mary Keller Zuheir and Susan Sofia Jerome and Bette Dare Mary C. Long* Alden* and Virginia* Stilson Garrett and Sidney Dill Susan J. Mancini Sheldon and Rebecca Taft Charles and Anne Driscoll Mattlin Foundation David Thomas John and Francille Firebaugh Anne Melvin* David H. Timmons The Rev. Earl and Pauline Fritz Annette Molar* Craig D. and Connie Walley Judith Harris Hays Mervin E. Muller*

bravo MARCH/APRIL 2020 55 bravo MARCH/APRIL 2020 56 PARTNERS IN EXCELLENCE

We gratefully acknowledge the following (2018-2019) season Partners in Excellence, who are leading the way to sustain the CSO’s positive momentum. Anonymous (2) Jack and Joan George Gay Su Pinnell Lois H. Allen Cindy and Larry Hilsheimer Ron and Ann Pizzuti Rita Barnum Daniel L. Jensen Anne Powell-Riley Lisa and Chris Barton Mr. Eric T. Johnson and Wayne and Cheri Rickert Battelle Dr. Rachel G. Mauk Andy and Sandy Ross Mrs. Rhoma Berlin Steve and Diane Jones Dr. Philip and Elizabeth Samuels Jim and Susan Berry Mary Lazarus Amy and Alan Shore Jim and Margaret Boggs Alan and Ginny Litzelfelner George and Patricia Smith Mr. and Mrs. Thomas H. Brinker Nancy and Tom Lurie Zuheir and Susan Sofia Robert and Susan Cochran Don Lynne Kim and Judith Swanson Ted and Lynn Coons Albert N. and Susan J. Mancini Sheldon and Rebecca Taft Janet and Robert Cox Lawrence and Katherine Mead Jennifer Tiell and Mark Adelsperger Michael S. and Paige D. Crane Barbara McAdam Muller David H. Timmons Tom and Nancy Crumrine Tom and Melanie Murray Craig D. and Connie Walley Dr. and Mrs. Jerome J. Cunningham Jane P. Mykrantz and Dr. Gifford Weary and Cornelia B. Ferguson Kiehner Johnson Mr. David Angelo Francille and John Firebaugh Dr. Deborah Parris and Thomas and Gwen Weihe The Rev. Earl and Pauline Fritz Dr. David Bisaro William and Jane Wilken

CORPORATE AND FOUNDATION PARTNERS

With gratitude, the Columbus Symphony acknowledges all our corporate and foundation supporters. This publication lists names of donors who made gifts, pledges and in-kind donations of $1,000 or more from September 1, 2018 to August 31, 2019.

$150,000 AND ABOVE Greif, Inc. $2,750-$4,999 Honda of America Mfg. Aetna Johnstone Fund for New Music Clark Schaefer Hackett Lightwell e-Cycle Live Technologies LLC Epcon Communities Inc. Martha Holden Jennings Foundation Ernst and Young LLP The Reinberger Foundation The Harry C. Moores Foundation Renewal by Andersen John Gerlach and Company LLP Safelite AutoGlass Lifestyle Communities $100,000-$149,999 The Woodhull Fund of McGohan Brabender The Columbus Foundation Plante Moran, PLLC PricewaterhouseCoopers LLP $5,000-$9,999 State Auto Insurance Companies Abercrombie and Fitch $50,000-$99,999 Taft, Stettinius and Hollister The American Legion Department of Ohio Value City Furniture/Schottenstein Cardinal Health Foundation Columbia Gas of Ohio CDDC/Capitol South Property Group Crane Group White Castle Management Co. Central Management Company Crawford Hoying Huntington Bank G&J Pepsi $1,000-$2,749 L Brands Foundation Heartland Bank CAPA $25,000-$49,999 Heidelberg Distributing Co. The English Family Foundation Columbus Symphony League Lasting Impressions Event Rental GFS Chemicals Friends of the Columbus Symphony L Brands IATSE 12 Mattlin Foundation Loeb Electric The Jeffrey Company PNC Merrill Lynch KPMG Mount Carmel Health System Schneider Downs $10,000-$24,999 Porter Wright Morris & Arthur, LLP Thompson Hine LLP Anonymous (2) The Robert Weiler Company Unum Battelle Siemer Family Foundation The Walter and Marian English Foundation Big Lots Foundation Vorys, Sater, Seymour and Pease, LLP Edward Jones Wasserstrom Giant Eagle Market District The Waterworks

bravo MARCH/APRIL 2020 57 INDIVIDUAL PARTNERS

With gratitude, the Columbus Symphony acknowledges all our individual donors. This publication lists names of donors who made gifts, pledges and in-kind donations of $500 or more from September 1, 2018 to August 31, 2019.

$250,000 AND ABOVE $5,000-$9,999 $3,000-$4,999 Anonymous Anonymous (4) Anonymous Jack and Joan George Marian Acton* Felicia Bernardini Anne Melvin* Rita Barnum Jim and Susan Berry Gay Su Pinnell George Barrett Lynn A. Bird Mr. and Mrs. Thomas H. Brinker Jim and Margaret Boggs $50,000-$249,999 Don M. Casto Dorothy Burchfield Lisa and Chris Barton Ted and Lynn Coons Dorothy Loew Cameron Mrs. Rhoma Berlin Loann Crane Pam Conrad Andy and Sandy Ross Patricia A. Cunningham and Lisa and Tom Courtice Zuheir and Susan Sofia Craig R. Hassler Wren Davis Sheldon and Rebecca Taft Ruth Knight Decker Marvin E. Easter* Dr. Johanna DeStefano Francille and John Firebaugh $25,000-$49,999 Garrett and Sidney Dill Marilyn Harris Anonymous (4) Mr. C. John Easton Terry and Michelle Hoppmann G. Ross and Patricia Bridgman Jeff and Lisa Edwards Pat and Carol Huber Robert and Susan Cochran Cornelia B. Ferguson Frederick M. and Judith K. Isaac Dr. and Mrs. Jerome J. Cunningham Michael and Kris Foley Ronald Jenkins and William Davis Ron and Ann Pizzuti The Rev. Earl and Pauline Fritz Mike and Linda Kaufmann Michael and Arlene Weiss James P. Garland and Talvis Love $10,000-$24,999 Carol J. Andreae Elliott Luckoff and Fran Luckoff Anonymous Nanci and David Gobey Dr. Varun and Dr. Monica Mahajan Michael Ahern and Sandy Doyle-Ahern Mr. Jeff Harris Dr. Deborah Parris and Lois H. Allen Raymond and Karen Karlsberger Dr. David Bisaro Joseph A. and Linda J. Chlapaty Nancy and Tom Lurie Wayne and Cheri Rickert Jerome and Bette Dare Don Lynne The Schumacher Family Tom W. Davis Dr. and Mrs. Rama and Ernest* and Aurelia* Stern John and Bebe Finn Anne Mallampalli Thomas Sturges Barbara Hackman Albert N. and Susan J. Mancini Jennifer Tiell and Mark Adelsperger Cindy and Larry Hilsheimer Lawrence and Katherine Mead Chris and Susan Timm Mr. Eric T. Johnson and David and Mary Beth Meuse Dr. Gifford Weary and Dr. Rachel G. Mauk Rossen Milanov Mr. David Angelo Michelle Kerr Robert and Lori Morrison Jerry and Susan Woodruff Mary Lazarus Tom and Melanie Murray Anne Powell-Riley $1,300-$2,999 Mary C. Long* Anonymous (9) Matteson Garcia Family Skip and Anita Prichard Martyn and Lynne Redgrave Vanessa and George Arnold Jane Mattlin Dr. Constance Bauer and Mervin E. Muller* Denise Rehg Tadd and Nancy Seitz James Vaughan Barbara McAdam Muller Paul and Tere Beck Jane P. Mykrantz and Alex Timm Drs. Grant Wallace and Kurt and Jennifer Bendeck Kiehner Johnson Alfred H. Bivins Charles and Debra Penzone Stephanie Davis Wallace Craig D. and Connie Walley Nadine Block Howard and Sandra Pritz Drs. Patricia and James Caldwell Amy and Alan Shore Thomas and Gwen Weihe Willis S. White, Jr. Bill Calvert and Autumn Lemons George and Patricia Smith Barbara L. Chuko Steve and Lindsey Snethkamp William and Jane Wilken Nelson and Betsy Yoder Amalia Cochran Kim and Judith Swanson Janet and Robert Cox Thomas R. Gross Family Foundation Beth Crane and Richard McKee David H. Timmons Jim Crane and Laura Dehlendorf Scott White bravo MARCH/APRIL 2020 58 INDIVIDUAL PARTNERS

Michael S. and Paige D. Crane Barbara and Michael Taxier Mr. William L. Curlis Tom and Nancy Crumrine Susan Tomasky and Ron Ungvarsky Sameen Dadfar Mr. Carl D. Cummins John Wakelin and Anu Chauhan Ruth Deacon Charles Driscoll Jane Ware Andrea and Christopher Dent Mr. and Mrs. Thomas Driskell Mary and Tom Weatherwax Philip and Susan DeVol Nancy Edwards Francis and Lillian Webb Nancy Donoghue Kenneth Freedman James Weinberg and Joanne Kesten Deanie M. Dorwart Judy Garel Hugh Westwater and Linda Larrimer Carole Duffey Martin and Dorothy Gelender Lallie Wetzig Andy and Diane Dunn Barbara E. Goettler Chad and Melinda Whittington David and Anne Durell Robert C. and Beverly A. Goldie Greg Zanetos Phyllis Duryee Elaine and Victor Goodman Kara Dusterhoft Richard and Linda Gunther $500-$1,299 Elizabeth Eckels Dick Hacker Anonymous (17) Sue Ellen Eickelberg Richard Hillis Judith H. Ahlbeck Benedicta Enrile Ellis and Beverly Hitt John and Elizabeth Allemong Bernie and Linda Erven David J. Hoyt Allene N. Gilman Charitable Trust Christine and Tom Farquhar Ted and Eileen Huston Bill Alsnauer Robert Farquhar Daniel L. Jensen Craig and Deborah Anderson Alice Faryna Steve and Diane Jones Michelle Andre Arthur Flesch The Josenhans Family Bill and Diana Arthur Travis and Stephanie Fling Linda and Frank Kass Sine-Marie Ayres Daniel and Koleen Foley Mary and Tom Katzenmeyer Lois and Brian Baby Frank and Jean Forsythe Chris Keller Marilyn and Ray Barker Belle Francisco and Rick Long Ruth and Bill Lantz David and Joan Barnes Linda Gabel Marilyn and Alan Levenson Richard and Sharon Bates Michael and Cynthia Gardner Mrs. Robert E. Lindemann Paul and Jan Baumer Donald and Eydie Garlikov Jeffrey and Wendy Luedke Christopher and Grace Beam Andreas and Sara Garnes Lowell and Nancy MacKenzie Luis and Ariane Biava Dr. Annie Marie Garraway Gary and Cindy Madich Mrs. Janet Blair Sandra L. L. Gaunt Sondra Matter Paul and Lynn Blower George and Michelle Geissbuhler George and Diane McCloy Kenneth and Laura Bowen Mr. Thomas A. Gerke David and Bonnie Milenthal Carol Ann Bradley Jen and Bob Gervasi Neil and Christine Mortine Mr. and Mrs. Thomas F. Brandt Sonia Gill and Dan Ginis Annegreth T. Nill and Bruce C. Posey Dr. and Mrs. J. Richard Briggs Bruce Gilleland Jane and Dave Otten Vicki Britton Sylvia Golberg Greg and Alicia Overmyer Mrs. Margaret Broekema Martin Golubitsky and Carol and Jim Paul Stephen Burson and Daniel Riquino Barbara Keyfitz Carole Poirier Michael Burton Joy and Michael Gonsiorowski Doug Preisse Robert V. Byrd Don Good Ben and Rebecca Ramirez Connie and Denny Cahill Dr. Steven and Gaybrielle Gordon Lisa Rhyan and Daniel Zambory John Callahan and Katie Graber R. L. and Barbara Richards Patty Hill-Callahan Mrs. Barna J. Graves Lois E. Robison Jack and Carolyn Chabot Martha Grodesky Dr. Philip and Mrs. Elizabeth Samuels Amy and Jim Chapman Linda and Bill Habig David R. Schooler Barbara Clark Mike and Harriet Hadra Mr.* and Mrs.* Arthur E. Shepard Tom and Jackie Clark Mark V. Haker Craig and Lisa Shuneson Matthew Cohen and Susan Geary Dr. Edward L. Hamblin Robert and Anita Smialek Jeff and Lorie Copeland Nick and Steve Hardin Joseph and Christina Sofia Kristin and Mike Coughlin Cheryl Harrison David and Louise Swanson Suzanne and Ken Culver Larry Hayes and Paul Williams

bravo MARCH/APRIL 2020 59 INDIVIDUAL PARTNERS

Bill Hegarty Kate and Dan Minor Marcia Katz Slotnick Ulrich and Christiane Heinz Michael and Michele Moran Doug and Pat Slusher Dennis and Jo Hone Lisa Morris and Kent Shimeall The Revs. Bruce and Susan Smith Michael Huggett Scott and Gretchen Mote Francis C. Smith Rose Hume and Jim Dunn Lynda and Stephen Nacht Marilyn R. Smith Andrea Iesulauro Alford, Ph.D. Doug and Sue Neckers Carla Sokol Donna and Larry James Nancy Niemuth and Mark Ervin Bill and Maggie Stadtlander Douglas N. and Darlene V. Jones Ann and Bob Oakley Jeff and Jeani Stahler Kirk Jones Andrew and Riek Oldenquist Libby Stearns Rosemary Joyce Ed and Mary Jane Overmyer Seyman and Sadie Stern Sue and Seth Kantor David Packer and Dr. Linda Nusbaum Wendy and Steven Sternberger Raymond and Pauline Kahn Ellin and Richard Patchen Mark and Gail Storer Cultural Arts Endowment Fund Robert and Gloria Patterson Nancy Strause Kay Keller Tracy and Julie Peters Margie and Mike Sullivan Mary and Ken Keller Paul and Colette Peterson Michael and Shelley Temple John D. Kennedy Sara and Mason Pilcher Mr. David Thomas Bob Mills and Judy Kleen Gail and Katie Potter Rachel Thurston and Steve Caudill Daniel Koch Aleksey and Christine Prok Claryss B. Tobin Michele Koenig Jim Reardon Robert and Kathleen Trafford George and Linda Koukourakis Judy and Dean Reinhard Nancy and Ray Traub Anne M. LaPidus Marc Reitter Mark and Katherine Tucker Joanne Leussing Richard H. and Judith B. Reuning Don and Cheryl Tumblin Alan and Ginny Litzelfelner Shelda J. Robertson Dr. James and Jacquelyn Vaughan Skip and Mary Ann Loeb Ken and Judy Rodgers Anne Vogel James and Clare Long Stephen Rogers and Daniel Clements Ray and Nancy Waggoner Howard A. Longfellow Steven and Maria Rosenthal Richard H. and Margaret R. Wagner John Looman Lois Rosow Richard and Jane Ward Michael Lowe Jan Ryan Catharine and Robert Warmbrod Sarah and Richard Luckay Jennifer and Ed Saboley Brad and Julie Wasserstrom Rose Luttinger Michael and Marie Sais David and Cindy Webber Margaret A. Malone Thomas and Gail Santner Marilyn P. Wenrick Richard and Barbara Markle Lyn Savidge Cynthia M. Whitacre John and Patricia McDonald Devon and Michael Seal Teresa and Daniel Wiencek Mark and Christine McHenry Dr. Gordon N. Shecket Donice Wooster Dr. Violet I. Meek and Robert and Ann Shelly Becky Wright Dr. Don M. Dell Ms. Junko Shigemitsu Elezabeth and Scott Young Priscilla Meeks Helen C. Shimp Jane B. Young David and Betty Meil Larry and Cheryl Simon James and Barbara Zook Patricia Melvin Dr. and Mrs. Charles Singler Gregory Zunkiewicz Lee Meyer Jim Skidmore The Zunkiewicz Family Ruth and Fred Miller Retta and Elliot Slotnick

bravo MARCH/APRIL 2020 60 IN KIND

A Proper Garden Fortin Ironworks Sherrie Gallerie All inBloom Flowers FOUNT Sunny95 American Electric Power Garths Auctioneers and Appraisers George and Patricia Smith Lisa and Chris Barton Giant Eagle Market District The Country Club at Muirfield Village William and Jean Bay Hart, Inc. The Ohio State University Golf Course Brassica Heartland Bank The Spa at River Ridge Connie Cahill Karen Kennedy This is Pretty in Ink LLC Catering by Design Lasting Impressions Event Rentals Timeless Skin Solutions Cincinnati Reds Rossen Milanov Adam Paul Tobias Barbara A. Clark NBC4 Tucci’s Robert and Susan Cochran On Paper Drs. Grant Wallace and Jeff and Lorie Copeland Gay Su Pinnell Stephanie Davis Wallace John Daly Cortney J. Porter Tom and Gwen Weihe Designer Paws Salon Pro Art Music, LLC WOSU Public Media Bill and Louise DiMascio Connie and Tom Ricer Brandon Dubinsky Sheraton Columbus at Evergreen Floral Company Capitol Square

TRIBUTE GIFTS

The following donors have made contributions to the Columbus Symphony in honor or in memory of a friend or loved one between September 1, 2018 and January 31, 2020. For questions about making a gift in honor or in memory of someone, please contact the development office at (614) 221-6016.

IN HONOR Marilyn Harris Del Sheaffer Judy Garel Linda and Jeffrey Maxwell Kathryn Barto Sylvia Goldberg Linda and Jim Weyman Joe Sinvany Kevin Greenwood and Mark Lowery Marvin A. and Susan J. Katz Lisa Barton Mary Lazarus Susan Tomasky Austen Smith Irene Hessler Ronald L. Smith Christian Bush Anonymous Nancy Stohs and David Bush Peter Stafford Wilson Ronald J. Jenkins Kim and Judith Swanson Jan Cox Elizabeth Jewell Becker Jerry and Susan Woodruff Vivace Unit, Friends of the Alexa Konstantinos Columbus Symphony Libby Stearns Courtney and Dr. Andy Neckers Vivace Unit, Friends of the Columbus Symphony Doug and Sue Neckers Columbus Symphony Trombone Section Douglas and Suzanne Neckers Wayne and Cheri Rickert David Tanner Andrew and Courtney Neckers Nancy and Eugene King CSYO Chamber Strings Orchestra David Niwa Adam and Laura Weiser Jan Wade Larry and Ginny Christopherson Rob and Marti Rideout Nancy Edwards The DeGenero Family Phil and Valerie Stichter Robert and Susan Cochran Mitzi Panico Eric and Sharon Walton Terry L. Fairfield Charles and Patricia Corbato Annegreth T. Nill and Bruce C. Posey Dr. Stephanie Davis Wallace Patricia Ratcliff Jody Williams Mary L. Florence Ramona Whisler Bill Hegarty Deanna Olson Denise Rehg Friends of the Columbus Symphony Ronald L. and Mary F. Hooker Donna Cavell Zuheir and Susan Sofia

bravo MARCH/APRIL 2020 61 TRIBUTE GIFTS

IN MEMORY Gene D’Angelo Mary Schneider Hamblin Mrs. Rhoma Berlin Dr. Edward L. Hamblin Anna Backe Zuheir and Susan Sofia Anonymous Marvin Hamlisch Weldon, Etta Mae and Mrs. Janet Blair Marjorie Baker Josephine Davis David and Louise Swanson Terry Alan Davis Ann N. Hansen Mrs. Rhoma Berlin Cynthia Bell James R. Decker Steven Bell Ruth Knight Decker Donald Harris Kevin Greenwood and Mark Lowery Luis O. Biava Carole DePaulo Luis and Ariane Biava Julie DePaulo Fanny A. Hassler Patricia A. Cunningham and Dr. Bill Blair Martha Deever Matteson Craig R. Hassler Mrs. Janet Blair Mervyn Matteson Geneva Hensel David Blum Sarah Lash Dowds Carol Porter Wendy Blum Mrs. Rhoma Berlin Charlotte and Mike Collister Robert Hess, Jr. Amy Blumenthal Dr. and Mrs. Richard Braen Sergei Lobanov-Rostovsky Marvin E. Easter Butler, Cincione & DiCuccio Elizabeth Bohl Susan and Robert Cochran Attorneys at Law Stephanie and Jeffrey Caterino Carolyn Wenzelberger Jean and Larry Hjelle The National Board of Boiler and Sarah White Borden Flo Ann Easton Pressure Vessel Inspectors Borden, White and Associates, Inc. Mrs. Rhoma Berlin Caprice/Encore Unit, Friends Michelle Seneco Mary Buk of the Columbus Symphony Charles and Judy Wilson Yvonne Kovac Alice Hunt Barbara Taylor Walter and Marian English The Walter and Marian English Carmela Alastra Louis A. Burns Foundation Janet and Robert Cox Anonymous Sandra Dameron Evelyn Erlanger Pauline Dickey James Caldwell Edgar Erlanger Patricia and Richard Evans John and Sandi Baumert Sheri Farber Thuy and Dr. Brian Bowyer Nancy Exline Vivace Unit, Friends of the Dr. Robert and Shirley Caldwell Mrs. Rhoma Berlin Columbus Symphony Laura and Eric Geil William Ferguson Helen Hall Michael and Lisa Holstein Jeffrey and Megan Walker Loyd and Jeri Howell Friends of Laura’s from Andrew Johnson Ohio Wesleyan David Frost Michael and Nancy Kilbourne Marjorie Lucas Joyce Fishman Martha Mahlie Barbara McSheffery Audrey Matthews Dot Myers Donald and Jeannette Frost Dale Masel and Roberto McClin Anna Moore David Orsinelli William and Sandra Packer Angela and Robert Ray Dr. Michael O. Garraway Charles and Susie Rath Jane and Ralph Roach Dr. Annie Marie Garraway Jim and Ann Russell Rita Sheets-Coleman Linda and David Scott Linda C. Signore Wallace C. Giffen Mr. and Mrs. H. Grant Stephenson St. Agatha Bell Choir Sarah E. Giffen Joann Sudduth Varnum Bonnie Gilliom David and Louise Swanson Arthur and Barbara Vogel Gene Gilliom Janet and Nick Zettler The Kent W. Walkers Cynthia Wallingford Allene N. Gilman Sue Inglis The Wallingford Family Allene N. Gilman Charitable Trust Thomas and Gwen Weihe Kim and Jerry Wissman Virginia Gorry Nancy and Tad Jeffrey Rod Chambers Canterbury Unit, Friends of the Anne Jeffrey Wright Anonymous Columbus Symphony Marty Jones Kristen Pierce Clevenger Catherine Graf John S. Jones Mrs. Rhoma Berlin Marjorie Bohl Ellen English Wiseman Julian Robert L. Cox Malcolm Graves The Walter and Marian English Janet L. Cox Mrs. Barna J. Graves Foundation Mrs. Barna J. Graves JoAnn Hall David and Louise Swanson G. Philip Hall

bravo MARCH/APRIL 2020 62 TRIBUTE GIFTS

Mary Lou Kable Mervin E. Muller Steve Schakett Garrett and Sidney Dill Richard J. and Ruth Ann Bull Ellen Mastellarini Friends of the Columbus Symphony Barbara Clark David Cohen Marilyn L. Schofield Janice M. Ladd Columbus Symphony League Charles and Gladys Zimmer Malinda K. Heineking Loann Crane Howard C. and Betty S. Zimmer, Jr. Richard Lapp Diane Driessen Edwin R. Six III Marilyn Harris Belle Francisco and Rick Long H. J. Six Doug and Karen Kerns Joyce Gatwood Dr. James and Jacquelyn Vaughan Michael and Olga Howie Mary Jeannette Smith Karen Hudson Francis C. Smith Robert E. Lindemann James and Pamela Huebner Patricia Carpenter Ernest and Aurelia Stern Rose Hume and Jim Dunn Seyman and Sadie Stern Mrs. Robert E. Lindemann Marty Marlatt Mary C. Long Linda McCutchan Elizabeth D. Sturges BJ Friedery and Arnold Erickson Sharie and Dennis McQuaid Mrs. Rhoma Berlin Mildred Gordon Ben and Alicia Mehraban Thomas Sturges Miso Kim Gerald and Ann Newsom Jan Spohr Tague Kenneth C. and Jane H. McKinley George and Ruth Paulson Vivace Unit, Friends of the Richard Duesterhaus and Denise Rehg Columbus Symphony Jude Mollenhauer John and Carol Robinson Libby Stearns Louise Swanson Marilyn Scanlan David and Louise Swanson John and Jean White The Shafer Family Joyce Shoemaker Oscar L. and Rita C. Thomas Paul D. Love Rebecca Stilson and Mike Sullivan Anonymous Margery Love Ed and Deb Susi Richard Tice Manfred Luttinger Jennifer Tiell and Mark Adelsperger Mrs. Rhoma Berlin Rose Luttinger Skip Yassenoff Mr. Gary Tirey Joan Lynne Julie Ostrander George and Kimberly Hoessly Don Lynne Kay Hedges Carolyn Vitak Tanya Matsuda Joseph H. Oxley Jim Vitak Jerry and Susan Woodruff Margaret Oxley Patrick J. Walsh Kristine J. McComis Dr. George W. Paulson Daria Arbogast Janet K. Anderson Ellen Rose Charles Warner Anne Melvin Mickey Pheanis Mrs. Barna J. Graves Ronald L. and Mary F. Hooker Columbus Symphony League John D. Kennedy Evan and Jean Whallon Nancy Ross Fonda Fichthorn Rosaleen Meyer Pat and Nancy Ross Roger A. Meyer Janice Whittaker Larry Rutherford Helen Sutherland John Peter Minton, M.D. Dr. Robert Horvat Mrs. John Peter Minton Dr. Allan Yates Nancylu Sarver Charlotte A. Yates Annette Molar Mrs. Rhoma Berlin Marilyn and Alan Levenson Garrett and Sidney Dill Canterbury Unit, Friends of the Sam and Jane Morris Columbus Symphony Lisa Morris and Kent Shimeall Mrs. Barna J. Graves Marilee Mueller James P. Scanlan Columbus Symphony League Marilyn Scanlan

bravo MARCH/APRIL 2020 63 LEGACY SOCIETY

The Legacy Society recognizes patrons who have advised the Development Office that they have made or are making provisions for a planned gift to the Columbus Symphony. Such provisions often involve a bequest made through the donor’s will, but there are other types of deferred gifts with tax benefits which should be discussed with a financial advisor. To notify the Symphony of such a provision and become a member of the Columbus Symphony Legacy Society, or to obtain further information about planned giving, please contact the Development Office at (614) 221-6016.

Anonymous The Rev. Earl and Pauline Fritz Karen M. and Randall E. Moore James* and Lois Allen Judy and Jules* Garel Richard R. Murphey, Jr. Elizabeth Ann Ayers Jack E. and Winifred J. Gordon Mr. and Mrs. Robert A. Oakley George W.* and Shannon Anne Goss and Richard Coleman* John M. Pellegrino Baughman Marilyn H. Harris Betty J. Peters Paul and Tere Beck Judith Harris Hays Denise Rehg Susan and Jim Berry Michael and Victoria Hayward Margaret Renner Pat and Ross Bridgman Cindy and Larry Hilsheimer Richard and Teri Reskow Thomas H. Brinker Lisa A. Hinson Rocky and Mary Robins Fred* and Paula Brothers Harold C. Hodson Lois and William J.* Robison Neal Brower Mr. and Mrs. David A. Jeggle Karlon Roop Robert V. Byrd Mr. Eric T. Johnson and Joseph M. B. Sarah Dorothy L. Cameron Dr. Rachel G. Mauk Merry Ann L. Sauls Robert and Susan Cochran Jack and Zoe Johnstone James* and Marilyn Scanlan Richard and Lynn Colby Douglas and Darlene Jones Carl and Elizabeth Scott William B. Connell Patricia Karr Mr. and Mrs.* Arthur E. Shepard Janet L. Cox Linda S. Kass Anne C. Sidner Jerome and Margaret Mary and Ken Keller Marcia Katz Slotnick Cunningham William* and Sandra Kight George and Patricia Smith Eugene R. and Frank A. Lazar Marilyn A. Smith Johnson Pauline E.* Dahnke Lyman L. Leathers Kim and Judith Swanson Richard I.* and Helen M. Dennis Fran Luckoff Sheldon and Becky Taft Brian and Christine Dooley Lowell T. and Nancy MacKenzie David Thomas Sherwood* and Martha Fawcett Susan J. Mancini David H. and Rachel B.* Timmons Barbara K. Fergus Kenneth C. and Jane H. McKinley Buzz and Kathleen Trafford Robert Firdman Kathy Mead Craig D. and Connie Walley Fred and Molly Caren* Fisher Mr.* and Mrs. H. Theodore Meyer Michael and Kris Foley Ruth Milligan

For a complete listing of Legacy Society members, please visit our website at www.columbussymphony.com

bravo MARCH/APRIL 2020 64 bravo MARCH/APRIL 2020 65 bravo MARCH/APRIL 2020 66 CONCERT HALL & TICKET INFORMATION

Patrons with Disabilities: Refreshments are available in the Galbreath Pavilion The Columbus Symphony provides accommodations at the Ohio Theatre. Refreshments are available in the for persons with disabilities. For special seating lobby of the Southern Theatre and you are welcome to arrangements, please call the CBUSArts Ticket Center take drinks into the concert hall. at (614) 469-0939. Lost and Found: Concert Times: Call (614) 469-1045. Regular season Friday and Saturday concerts begin at 7:30 pm. Purchasing Tickets: Phone the CBUSArts Ticket Center at (614) 469-0939, Latecomers and those who leave the hall once a 9 am to 5 pm weekdays and 10 am to 2 pm on performance has begun will be seated at the discretion Saturdays, to purchase tickets by credit card. Discover, of the house manager during appropriate pauses. To MasterCard, Visa, and American Express are accepted. assure that you are able to enjoy the entire concert, we Fax orders are accepted at (614) 224-7273. suggest that if you are picking up tickets at Will Call or purchasing tickets, plan to arrive at least 45 minutes Purchase in person at the CBUSArts Ticket Center, prior to the start of the concert. 39 E. State St., 9 am to 5 pm weekdays, 10 am to 2 pm on Saturdays, and 2 hours prior to all Columbus Please do not bring any packages, bags, Symphony performances. or backpacks into the venue. Venue management reserves the right to search such items and to refuse Mail orders should be sent to the CBUSArts Ticket the entrance of such items into the venue. Thank you Center, 39 E. State St., Columbus, Ohio 43215. for your cooperation. Online orders can be made at Cameras and recording equipment may not www.columbussymphony.com. All ticket purchases be brought into the concert hall. Please turn your are subject to a theatre restoration fee. electronic watch and cellular phone to “off” or set it to “vibrate” prior to performances. Group rates are available by calling (614) 719-6900.

Smoking is not permitted in the venue. Emergency Calls: If you need to be reached during the concert, please register your name and seat number at the ticket office so that you can be easily found.

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