A Message from the Chair of the Board of Trustees 5 2018-2019 Musician Roster 7 NOVEMBER 17 9 Spaced Out: A Sci-Fi Movie Music Spectacular NOVEMBER 30-DECEMBER 2 12 Holiday Pops JANUARY 4-5 25 Russian Winter Festival I: Leningrad Symphony JANUARY 11-12 31 Russian Winter Festival II: Tchaikovsky’s Piano Concerto Board of Trustees/Administration 39 Friends of the Columbus Symphony 40 Columbus Symphony League 41 Partners in Excellence 42 Corporate and Foundation Partners 42 Individual Partners 43 In Kind 46 Tribute Gifts 46 Legacy Society 49 Future Inspired 50 Concert Hall & Ticket Information 51

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 © 2018. All rights reserved. Printed in the U.S.A. bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 4 A MESSAGE FROM THE CHAIR OF THE BOARD OF TRUSTEES

Dear Columbus Symphony Supporter,

As the wonderful performances of our 2018-19 season continue, we again thank you for your support of quality, live performances of orchestral music in our community!

We open our Pops season with Spaced Out: A Sci-Fi Movie Music Spectacular! (November 17, Ohio Theatre). Stuart Chafetz debuted as principal pops conductor last summer during an amazing 2018 Nationwide Picnic with the Pops season. Now, we welcome him to the Ohio Theatre in his first Pops performance, which celebrates sci-fi TV and film favorites like Star Wars, Star Trek, Back to the Future, and more.

Following that is the long-standing annual Columbus tradition of Holiday Pops (November 30 – December 2, Ohio Theatre). Ronald J. Jenkins leads the Columbus Symphony and Chorus in some of the season’s most-loved holiday songs and carols. Bring the whole family and kick off your holiday season with the CSO!

After last year’s sold-out concerts, the Russian Winter Festival I (January 4 & 5, Ohio Theatre) returns, ringing in the new year with a performance of Shostakovich’s iconic Leningrad Symphony. Join us for this powerful composition which conveys tragedy, oppression, resistance, and ultimately, victory.

We continue with Russian Winter Festival II (January 11 & 12, Ohio Theatre) that features principal dancers from BalletMet in the Suite from Sleeping Beauty, and guest pianist Sergei Babayan in Tchaikovsky’s Piano Concerto No. 1. The virtuosity and brilliant orchestral colors of the Columbus Symphony will shine brightly as we conclude the performance with Prokofiev’s Symphony No. 5.

We hope you are as excited as we are to launch the Pops season and to welcome the return of the Russian Winter Festival performances! 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!

Sincerely,

Lisa Barton Chair, Columbus Symphony Board of Trustees

bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 5 bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 6 2018/2019 MUSICIAN ROSTER

Rossen Milanov, Music Director Andrés Lopera, Assistant Conductor Ronald J. Jenkins, Chorus Director VIOLINS Christina Saetti ENGLISH HORN BASS TROMBONE Joanna Frankel Ann Schnapp Robert Royse Joseph Duchi Concertmaster Steven Wedell Chad Arnow Jack and Joan George Chair CLARINETS Leonid Polonsky VIOLONCELLO David Thomas TUBA Associate Concertmaster Luis Biava Principal James Akins David Niwa Principal Rhoma Berlin Chair Principal Assistant Concertmaster Andy and Sandy Ross Chair Mark Kleine Alicia Hui Wendy Morton Paul Bambach TIMPANI Principal Second Assistant Principal Anthony Lojo Benjamin Ramirez Martin and Sue Inglis Chair Gay Su Pinnell Chair Principal Rhonda Frascotti **Marjorie Chan BASS CLARINET American Electric Power Assistant Principal Second Pei-An Chao William Denza Foundation Chair Mary Jean Petrucci Mary Davis **Mikhail Baranovsky Victor Firlie BASSOONS PERCUSSION Michael Buccicone Tom Guth Philip Shipley Betsy Sturdevant Principal Leah Goor Burtnett Mark Kosmala Principal Amber Dimoff Sabrina Lackey Sheldon and Rebecca Taft Chair Jack Jenny David Edge Jeffrey Singler Douglas Fisher Brian Kushmaul Robert Firdman Cynthia Cioffari Cameron Leach Joyce Fishman BASSES Jacob Darrow William Lutz Erin Gilliland Rudy Albach Kirstin Greenlaw Principal CONTRABASSOON HARP Gyusun Han Nationwide Chair Cynthia Cioffari Rachel Miller Tatiana V. Hanna John Pellegrino Symphony League Chair Rachel Huch Assistant Principal HORNS Jeanne Norton Heather Kufchak **James Faulkner Brian Mangrum Principal PIANO/CELESTE William Manley Russell Gill Jena Huebner Julia Rose Caroline Hong Aurelian Oprea Associate Principal Reinberger Foundation Chair Gail Norine Sharp Jean-Etienne Lederer Jon Pascolini Adam Koch Ariane Sletner Colin Bianchi ORGAN Zoran Stoyanovich FLUTES Amy Lassiter James Hildreth Anna Svirsky Heidi Ruby-Kushious Bruce Henniss Elaine Swinney *Genevieve Stefiuk Kimberly McCann * Indicates musician on leave David Tanner Brandon LePage Megan Shusta during the 2018 -2019 Season Jonquil Thoms Lori Akins Charles Waddell Olev Viro Janet van Graas ** Begins the alphabetical Manami White TRUMPETS listing of players who participate PICCOLO Jeffrey Korak in a system of rotated seating VIOLAS Janet van Graas Lisa and Chris Barton Chair within the string section. Karl Pedersen Lori Akins Daniel Taubenheim Principal Brian Buerkle KEYBOARD TECHNICIAN Gay Su Pinnell Chair Tom Battenberg Brett Allen OBOES Doug Brandt Assistant Principal *Stephen Secan David Duro **Leslie Dragan Principal Timothy Leasure LIBRARIAN Dee Dee Fancher Robert Royse Jean-Etienne Lederer Mary Ann Farrington Nathan Mills TROMBONES Principal Librarian Yu Gan Jessica Smithorn Andrew Millat Kenichiro Matsuda Principal Patrick Miller Richard Howenstine Chris Saetti David Parilla

The Musicians of the Columbus Symphony are members of, and represented by, the Central Ohio Federation of Musicians, Local 103 of the American Federation of Musicians.

bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 7 Did You Know? Young people who participate in the arts for at least three hours on three days each week through at least one full year are: • 4 times more likely to be recognized for academic achievement • 3 times more likely to be elected to class office within their schools • 4 times more likely to participate in a math and science fair • 3 times more likely to win an award for school attendance • 4 times more likely to win an award for writing an essay or poem

bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 8 SATURDAY, NOVEMBER 17, 2018, 8:00 P.M. SPACED OUT: A SCI-FI MOVIE MUSIC SPECTACULAR THE OHIO THEATRE Columbus Symphony Pops Series

Stuart Chafetz, conductor • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • ALFRED NEWMAN 20th Century Fox Fanfare JOHN WILLIAMS “Main Title” from Star Wars Suite JOHN WILLIAMS Close Encounters of the Third Kind CALVIN CUSTER, ARR. Star Trek Through the Years ALAN SILVESTRI Suite from Cosmos ALAN SILVESTRI Back to the Future Suite for Orchestra

INTERMISSION

RICHARD STRAUSS Thus sprach Zarathustra from 2001: A Space Odyssey MICHAEL GIACCHINO/ Music from The Incredibles BILL HOLCOMBE JOHN BARRY/ The Black Hole – Main Title SEAN O’LOUGHLIN ©1979 Wonderland Music Company, Inc MICHAEL GIACCHINO Star Trek into Darkness MICHAEL GIACCHINO Suite from Super 8 JOHN WILLIAMS Star Wars: The Force Awakens Suite for Orchestra JOHN WILLIAMS “Imperial March” from Star Wars Suite

ADDITIONAL SUPPORT PROVIDED BY

bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 9 STUART CHAFETZ, conductor

He previously held posts as resident conductor of the Milwaukee Symphony Orchestra and associate conductor of the Louisville Orchestra. As principal timpanist of the Honolulu Symphony for twenty years, Chafetz would also conduct the annual Nutcracker performances with Ballet Hawaii and principals from the American Ballet Theatre. It was during that time that Chafetz led numerous concerts with the Maui Symphony and Pops. He annually leads the Spring Ballet at the world-renowned Jacobs School of Music at Indiana University. In the summers, Chafetz spends his time at Stuart Chafetz is the newly appointed Principal the Chautauqua Institution, where he conducts Pops Conductor of the Columbus Symphony. the annual Fourth of July and Opera Pops Chafetz, a conductor celebrated for his concerts with the Chautauqua Symphony dynamic and engaging podium presence, is Orchestra in addition to his role as that increasingly in demand with orchestras across orchestra’s timpanist. the continent and this season Chafetz will be on the podium in Seattle, Detroit, Naples, When not on the podium, Chafetz makes his Phoenix, Cincinnati, Milwaukee, Vancouver and home near San Francisco, CA, with his wife many more. Ann Krinitsky. Chafetz holds a Bachelor’s degree in music performance from the College- He’s had the privilege to work with renowned Conservatory of Music at the University of artists such as Chris Botti, 2 Cellos, Michael Cincinnati and a master’s from the Eastman Bolton, America, Roberta Flack, George School of Music. Benson, Richard Chamberlain, The Chieftains, Jennifer Holliday, John Denver, Marvin Hamlisch, Thomas Hampson, Wynonna Judd, Jim Nabors, Randy Newman, Jon Kimura Parker and Bernadette Peters.

bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 10 bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 11 FRIDAY, NOVEMBER 30, 2018, 8:00 P.M. SATURDAY, DECEMBER 1, 2018, 3:00 P.M. & 8:00 P.M. SUNDAY, DECEMBER 2, 2018, 3:00 P.M. HOLIDAY POPS THE OHIO THEATRE Columbus Symphony Pops Series Ronald J. Jenkins, conductor Columbus Symphony Orchestra Columbus Symphony Chorus Columbus Children’s Choir Jeanne Wohlgamuth, artistic director Joanna Frankel, violin Arthur Marks, countertenor Justin Gibbs and Isabel Lacon, dancers Children from BalletMet Academy Steven Crawford, narrator Santa Claus • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • NIGEL HESS A Christmas Overture GEORGE FREDERIC HANDEL For Unto Us a Child Is Born from Messiah ANTONIO VIVALDI Allegro non molto from Winter from the The Four Seasons for violin and orchestra, R. 297 Joanna Frankel, violin STEPHEN MAIN Fantasy on an Appalachian Carol Justin Gibbs and Isabel Lacon, dancers LEONARD BERNSTEIN Chichester Psalms 1. Psalm 108, vs. 2; Psalm 100 2. Psalm 23; Psalm 2, vs. 1-4 Arthur Marks, countertenor CRAIG COURTNEY A Musicological Journey Through the 12 Days of Christmas

INTERMISSION

bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 12 MACK WILBERG, ARR. O Come, All Ye Faithful (see below for words) FRANZ GRUBER/ Silent Night DAVID SHAFFER JOHN GOSS/DAN FORREST See, Amid the Winter’s Snow SPIRITUAL/ Go, Tell It on the Mountain MICHAEL ENGELHARDT LEROY ANDERSON Sleigh Ride RANDOL BASS The Night Before Christmas Steven Crawford, narrator BalletMet Academy Dancers JOHN WILLIAMS Merry Christmas! Merry Christmas! from Home Alone 2 BRUCE CHASE, ARR. Christmas Memories • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Holiday Decorations by William Davis Technical Direction by Jason Gay SING ALONG WORDS O Come, All Ye Faithful Verse 1: Chorus Verse 2: Audience Sing, choirs of angels, sing in exultation; Sing, all ye citizens of heav’n above! Glory to God; Glory in the highest; O come, let us adore him; O come, let us adore him; O come, let us adore him, Christ, the Lord! Verse 3: Audience Yea, Lord, we greet thee, born this happy morning; Jesus, to thee be all glory giv’n. Word of the Father, now in flesh appearing; O come, let us adore him; O come, let us adore him; O come, let us adore him, Christ, the Lord! Silent Night Silent night, holy night! All is calm, all is bright, Round yon virgin mother and child! Holy Infant, so tender and mild, Sleep in heavenly peace, sleep in heavenly peace. Jingle Bells Dashing thro’ the snow in a one-horse open sleigh, O’er the fields we go, laughing all the way; Bells on Bob-tail ring, making spirits bright; What fun it is to ride and sing a sleighing song tonight. Jingle bells, jingle bells, jingle all the way; Oh, what fun it is to ride in a one-horse open sleigh! Jingle bells, jingle bells, jingle all the way; Oh, what fun it is to ride in a one-horse open sleigh! ADDITIONAL SUPPORT PROVIDED BY

bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 13 bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 14 RONALD J. JENKINS, CSO chorus director

Jenkins has also been the Minister of Music and Liturgy of the 3,400 member First Community Church in Columbus since 1973. In this position, he is responsible for two choirs, oversees a staff of musicians, produces the church’s concert series, and coordinates worship/liturgy, art enrichment, and special celebrative events, including the annual fall services of music and the word, Soli Deo Gloria, the Festival of Lessons and Carols on Christmas Eve, and the season-concluding MorningSong, all with choir and members of the CSO and CSC. He has directed the Chancel Choir on three European tours, at the National Cathedral in DC and the Chamber Singers in Naples, Florida. On the third European tour A native of St. Louis, Ronald J. Jenkins has been in June 2013, he led the choir in concerts in Berlin, conductor of the Columbus Symphony Chorus and Leipzig, Dresden, Prague, and Salzburg, gaining rave Chamber Chorus since 1982. He conceived the idea reviews for their performance of Mozart’s Missa for the CSO’s popular Holiday Pops concerts and Longa with the Salzburg Cathedral orchestra. He has conducted those annual performances since has produced and directed eight recordings of the their beginning in 1983. In 2010, he conducted Chancel Choir and demonstrated his piano keyboard the CSO’s first complete performances of Handel’s skills in a popular duo recording of Gospel Hymns Messiah, which were lauded for their “quick pacing with CSO trumpeter Tom Battenberg. and brisk tempos,” and the chorus, which “was superbly balanced and in tune and obviously He has served as the Assistant Choral Director at well-rehearsed and confident.” He also prepared Washington University, visiting Choral Director at the chorus for their Carnegie Hall debut with the Denison and Ohio Wesleyan Universities, and led CSO in the spring of 2001, where the New York choral workshops for Trinity Seminary and various critics praised the “choral singing of impeccable professional organizations. He holds degrees from realization and subtle shading.” William Jewell College and Florida State University. He has also done extensive post-graduate study at This season he will prepare the Symphony Chorus for Washington University and studied conducting at the Bernstein Centennial Celebration, the Chamber the Tanglewood Music Festival. In 1985, he received Chorus for Handel’s Messiah, and the entire chorus the Columbus Dispatch Community Service Award for Mozart’s Requiem, all under Rossen Milanov’s for the Advancement of Culture. In May 2015, he direction. He will also prepare the choruses and will was granted the Honorary Doctor of Divinity degree conduct four performances of the 35th Columbus from Trinity Seminary, Bexley, Ohio. favorite, Holiday Pops.

bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 15 COLUMBUS SYMPHONY CHORUS

Ronald J. Jenkins, Director Casey Cook, Accompanist Caitlin Byrne, Chairperson

SOPRANO I ALTO I TENOR I BASS I Shelly Beaty Leslie Armstrong E. Wade Barnes, Jr. Matthew Barbour Laura Byars Aubrey Bailey William B. Catus, III Greg Bennett Alexa Clossin Kelli Clawson Frank E. Forsythe Steve Crawford Rachel Dalton Kailey Coulter Hector Garcia Terry Alan Davis Andrea Dent Deborah Forsblom Erick Garman William Davis Melissa Fata Suzanne Fryer Greg Grant Jordan Elkind Margaret F. Fentiman Lauren Grangaard Dustin Jarred Gary Everts Dawn Knoch Anna Griffis Dameon Jones Jacob Grantier Pamela Lester Jasmine Marks Arthur Marks Scot Helton Courtney Neckers Sandra Mathias Phil Minix Sam Majoy Melinda Patterson Cassandra Otani Kevin Mulder Michael Malone Gail Gilbert Storer Susan Prince Craig Slaughter Denis Newman-Griffis Jennifer Young Sharon Tipton Rob Shacklett Anna Weber TENOR II Steve Stumphauzer SOPRANO II Rachelle P. White Scott Boden Elizabeth Jewell Becker Kathryn Willer Mark Bonaventura BASS II Alexandra Buerger Andrew Doud William Alsnauer Jennifer Cahill ALTO II Nicolas Gonzales Hugo Blettery Kathryn Ehle Dorothy Barnes Andrew Grega Tracy Ediger Melissa Ewing Amy Beck Ernest Hoffman Ed Jennings Ruth Hall Andrea Brown Tim Owens Frederick Loyd Jordan Kapsch Caitlin Byrne Daniel Porter Kent Maynard Amanda Kasinecz Gwen Carmack Paul Ricketts Matthew P. McClure Alexa Konstantintos Susan Garcia Christian Slagle Robert I. Moreen Miriam Matteson Lisa Kennedy Steven Sulainis Drew Shadwick Gretchen Koehler Mote B.J. Mattson Dwayne Todd Donald Swartwout Amy Parker Jane Matyskella Ed VanVickle Michael Toland Heather Poole Janet Mulder Daniel Willis James Tompsett Cassie Wilhelm Amy Weiner Nathans Thom Wyatt Bruce Turf Sharon Wilson Doris Oursler Keith Whited Kelly Winner Debbie Parris Peter Woodruff Mary Yarbrough Lisa Peterson Laura Smith Bebe Walsh Rose Wilson-Hill Amanda Yeazell

bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 16 bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 17 COLUMBUS CHILDREN’S CHOIR

Praised as “rare, radiant, and beautiful” by composer While much has changed since Columbus Children’s Nick Page, the singers of Columbus Children’s Choir Choir was founded twenty-three years ago, its are no strangers to the public arena. They possess commitment to community and artistic excellence the technique and artistry to perform with word-class remains the same. Columbus Children’s Choir ensembles such as the Columbus Symphony. Led serves more than 500 students and teachers with by artistic director Jeanne Wohlgamuth, Columbus educational offerings including workshops, master Children’s Choir has had the honor of performing in the classes, free community engagement programs, and most prestigious national venues, including Carnegie its longstanding programs for children in kindergarten Hall and the White House. On the international stage, through twelfth grade—all with the mission of they have performed in Germany, Russia, Italy, France, fostering the personal growth of children through Canada, the Czech Republic, Hungary, Slovenia, Spain, meaningful experiences in music education and and Austria with the Vienna Boys Choir. vocal performance.

NEW WORLD SINGERS

Jeanne Wohlgamuth – Director Donna Hill – Choir Manager Valerie Peart – Choir Manager

Lucy Aveni Nicole Evans Jaseana Larsen Katie Roddy Alana Becker Rachel Fall Eenaya Majed Noah Salmon Isabel Best Deanna Farrell Samantha Mauter Shruti Sivaraman Anneliese Bragg Rhea Garg Katie Merickel Malik Stallings Annabelle Brown Alisa Giammarco Holly Miller Sarah Stevens Kaitlyn Brown Tylen Gordon Anna Nicolette Gretchen Stoner Elisa Bucci Rachel Green Wesley Noeth Benjamin Stupakewicz Abigail Burns Lucia Grunden Brianne Nutter Kate Sullenberger Norah Clous Jeremy Hardjono Rachel Olsson Sophie Sutton Sophia Corso Michael Haskell Nnenna Onwe Patrick Syar Ava DiMasi Abriena Hike Frances Pavell Tristan Sze Cecilia Duncan Marykate Hill Luke Peart Grace Tacchetti Tess Duncan Gracie Houck Madeline Rager Carson Thompson Larry Dunn Joshua Jeyandran Judy Ray Carrie Waltzer Grace Edic Ainsleigh Kemper Meggie Ray Angela Wehrum Courtney Elmer Tyler Kessis BrieAnna Reedus Kimberlee Welch Natalie Esquivel Makenna Koehl Brenna Reesman Beth Zofkie

bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 18 JEANNE WOHLGAMUTH

Association, and a recipient of countless awards including the Community Champion Award presented by the Dublin Chamber of Commerce.

Mrs. Wohlgamuth is a fervent advocate for higher education. She has served as an adjunct professor in the master’s of music education program at the Kodály Institute at Capital University and taught undergraduate choral methods. She has presented workshops on developing sight-reading in the choral rehearsal, and middle school choral techniques and repertoire for the Midwest Kodály Music Educator’s Conference, The Ohio State University, Capital University, Columbus City Schools, the Tri-City Kodály New World Singers director Music Educators, and the Ohio Music Educators Columbus Children’s Choir artistic director Association state professional conference.

Celebrated for her artistic vision and top-tier Mrs. Wohlgamuth currently serves as vocal affairs choirs, Jeanne Wohlgamuth is a champion of choral chair for the Ohio Music Education Association and education. Since beginning her tenure as Columbus is the secondary choral advisor for the Organization Children’s Choir artistic director in the spring of 2011, of American Kodály Educators. She has served as the Mrs. Wohlgamuth has paved the way for a new and national children’s choir coordinator and secretary exciting era of the organization. Under her direction for the Organization of American Kodály Educators the New World Singers received a special invitation and treasurer for the Tri-City Kodály Music Educators to sing with the Vienna Boys Choir in a tour of Austria as well as creative events chair for the Ohio Music and Hungary in 2017. She has expanded community Education Association. engagement efforts to make Columbus Children’s Choir a point of pride for our city. Mrs. Wohlgamuth is the recipient of the Teacher of the Year award at Dublin Jerome High School, Alongside her work with Columbus Children’s Choir, Karrer Middle School, Wright Elementary, and Mrs. Wohlgamuth is the fine arts department chair Bowen Elementary. She was also honored with the and director of choirs at Dublin Jerome High School, Golden Shamrock Award for Excellence in Education the vocal affairs chair for the Ohio Music Education from Dublin.

bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 19 SARAH SANTILLI

Sarah Santilli teaches vocal and general music at Jones Middle School in Upper Arlington and directs the Santa Maria choir of Columbus Children’s Choir. Sarah’s background includes vocal, instrumental, jazz, gospel, musical theatre, and dance. She regularly performs in community musical theatre productions in the Columbus area and directs the annual musical at her school. As a member of the Organization of American Kodály Educators and Ohio Music Educators Association, Sarah has presented at local, state, and national conferences, often in collaboration with Jeanne Wohlgamuth. She has also chaired district level events. Sarah received her bachelor’s degree in music education from The Ohio State University Santa Maria director and master’s degree in choral education with Kodály certification from the Kodály Institute at Capital University, where she was featured as a soprano and clarinet soloist.

SANTA MARIA 2018-2019

Sarah Santilli – Director Florence Hardjono – Choir Manager Julie Roddy – Choir Manager

Gracie Allen Madeline Donabauer Marley Hughes Emma Rawls Kate Anderson Serenity Edwards Sebastian Kulwicki Anna Remle Alexis Atwood Ally Fitzgerald Alessandra Ma Jill Roddy Athina Becker Emilee Fletcher Shea Manely Emma Savage Patera (Bella) Isabel Gebara Kylie Moeller Jessica Savage Boontagarnon Kyrmina Giancola Kelsie Morris Izzy Schenck-Chang Ryn Card Jett Gonzalez Jack Munday Alexandria Tewalt William Carlisle Holly Hamilton Tatiana Najera Drew Tumidolsky Isabella Casiano Alethia Grace Hardjono Gabriel Pace Joy Wilhoite Ohanna Cho Samuel Hardjono Anjali Paul Mackenzie Dillon Dean Harris Salva Pickens Marin Dojchinka Quinlan Haynes Teresa Ramos

bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 20 PROTECTING THE WILDEST JUNGLES ON THE PLANET.

MAIN STREET. PRESCHOOL. THE PLAYGROUND. The environment isn’t just some far off place. It’s the lawn beneath our feet, the food on our plate, and the air we breathe. And it’s why the Natural Resources Defense Council is working to protect the most important places on Earth. Whether it’s the rainforest, the arctic, or your living room. To learn more, go to NRDC.org. And help protect the jungle creatures in your backyard.

Because the environment is everywhere.

bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 21 bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 22 bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 23 bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 24 FRIDAY, JANUARY 4, 2019, 8:00 P.M. SATURDAY, JANUARY 5, 2019, 8:00 P.M. RUSSIAN WINTER FESTIVAL I LENINGRAD SYMPHONY OHIO THEATRE Columbus Symphony Masterworks Series

Rossen Milanov, conductor • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • FILM EXCERPT The War Symphonies: Shostakovich Against Stalin (1997) © Bullfrog Films www.bullfrogfilms.com

DMITRI SHOSTAKOVICH Symphony No. 7 in C Major, Op. 60 (“Leningrad”) I. Allegretto II. Moderato; Poco allegretto III. Adagio IV. Allegro non troppo

[There will be no intermission as part of this program.]

ADDITIONAL SUPPORT PROVIDED BY MASTERWORKS HOTEL SPONSOR:

bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 25 ROSSEN MILANOV, conductor

Indianapolis, Milwaukee, Baltimore, Seattle, and Fort Worth symphonies, as well as the National Symphony Orchestra at the Kennedy Center and Link Up education projects with Carnegie Hall featuring the Orchestra of St. Luke’s and Civic Orchestra in Chicago.

Internationally, he has collaborated with BBC Symphony Orchestra, Orchestra de la Suisse Romand, Rotterdam Philharmonic, Aalborg, Latvian, and Hungarian National Symphony Orchestras, Slovenain Radio Symphony Orchestra, and orchestras in Toronto, Vancouver, KwaZulu-Natal Philharmonic (South Africa), Mexico, Colombia, Sao Paolo, Belo Horizonte, Respected and admired by audiences and musicians and New Zealand. In the Far East, he has appeared alike, Rossen Milanov is currently the music director with NHK, Sapporo, Tokyo, and Singapore Symphonies, of the Columbus Symphony (CSO), Chautauqua and the Malaysian and Hong Kong Philharmonics. Symphony Orchestra, Princeton Symphony Orchestra, and the Orquesta Sinfónica del Principado de Noted for his versatility, Milanov is also a welcome Asturias (OSPA) in Spain. presence in the worlds of opera and ballet. He has collaborated with Komische Oper Berlin for In 2017, Milanov was a recipient of The Columbus Shostakovich’s Lady Macbeth of Mtzensk, Opera Performing Arts Prize from The Columbus Foundation Oviedo for the Spanish premiere of Tchaikovsky’s for presenting Beethoven’s Ninth Symphony as part of Mazzepa and Bartok’s Bluebeard’s Castle (awarded the CSO’s 2017 Picnic with the Pops summer series. best Spanish production for 2015), and Opera Under his leadership, the organization has expanded Columbus for Verdi’s La Traviata. its reach by connecting original programming with community-wide initiatives, such as focusing on An experienced ballet conductor, he has been seen women composers and nature conservancy, presenting at New York City Ballet and collaborated with some original festivals, and supporting and commissioning of the best-known choreographers of our time, such new music. Mats Ek, Benjamin Millepied, and most recently, Alexei Ratmansky in the critically acclaimed revival Milanov has established himself as a conductor of Swan Lake in Zurich with the Zurich Ballet, and in with considerable national and international Paris with La Scala Ballet. presence, appearing with the Colorado, Detroit,

bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 26 PROGRAM NOTES

Symphony No. 7 (“Leningrad”) in C major, Some of the most prominent music directors in the Op. 60 (1941) U.S., including Serge Koussevitzky, Artur Rodzinski by Dmitri Shostakovich and Leopold Stokowski, vied for the jus primae (St. Petersburg, 1906 – Moscow, 1975) noctis (“the right to the first night”), to quote Nicolas Slonimsky’s irreverent expression from the Shostakovich began work on his Seventh Symphony Musical Quarterly (October 1942). The race was in July 1941, a month after Hitler’s troops invaded finally won by Arturo Toscanini. the Soviet Union. He worked at feverish speed and finished the 30-minute first movement in about a Shostakovich was variously described in the press as month. The second and third movements were written the new Beethoven and the new Berlioz. Toscanini’s after the blockade of Leningrad had begun, while NBC broadcast was referred to in Newsweek as Shostakovich was serving on the fire-fighting brigade “the premiere of the year”; Time Magazine carried at the city’s music conservatory. He frequently had to a drawing of the composer wearing a fire-helmet on interrupt his work to escort his family to the bomb its July 20, 1942 cover with the caption: “Fireman shelter during air raids. Many people in Leningrad Shostakovich—Amid bombs bursting in Leningrad he knew that Shostakovich was working on a new heard the chords of victory.” It was clear that war symphony even as food was becoming extremely propaganda helped to promote the symphony in scarce in the city, and were gratified to know that ways quite unheard of in the annals of music. art was still alive in spite of everything. (A 1965 book about this difficult period bears the title But the Yet the most significant early performance of the work Muses Were Not Silent.) was probably the one given in besieged Leningrad. Overcoming difficulties beyond description, conductor At the end of September, Shostakovich and his Karl Eliasberg managed to assemble an orchestra family were evacuated from the besieged city. They of starving, exhausted musicians and performed the were flown to Moscow and two weeks later travelled work on August 9, 1942. This concert was itself a to the city of Kuibyshev on the Volga River by propaganda ploy by Stalin, intended to show that train—a 600-mile journey that, amidst the wartime the city of Leningrad could never be defeated. But chaos, took a whole week to complete. Shostakovich to those in the audience, this hardly mattered at remained in Kuibyshev for a year and a half; in the the time. Every seat in the hall was filled, and many spring of 1943 he moved to Moscow. After the war, he members of the audience wept openly. As Solomon never lived in Leningrad again. Volkov writes in St. Petersburg: A Cultural History (The Free Press, 1995): “Leningraders wept for their It was almost inevitable that the “Leningrad” fate and that of their city, slowly dying in the grip of Symphony should be thoroughly politicized both the most ruthless blockade of the twentieth century.” in the Soviet Union and abroad: the Soviets made political capital of what they decided was a paean According to Volkov, Shostakovich was also mindful to the heroism of the people of Leningrad during of the fact that the destruction of Leningrad did not the “Great Patriotic War.” At the same time, the start with the Nazi blockade. Ever since the 1934 symphony became a major sensation in the West. assassination of Sergei Kirov, the Communist Party The adventure-filled story of how the manuscript boss in Leningrad (on Stalin’s secret orders, it seems), reached the United States was itself made into a the former capital had been a special target of the movie: the score was microfilmed near Moscow, Great Terror in the second half of the ‘30s. Untold flown to Teheran, driven from there to Cairo, and thousands of residents were sent to the Gulag from finally flown to New York via Casablanca. A whole where the majority never returned. There was hardly crew of photographers worked for ten days to create anyone left who had not lost a relative, a friend, a paper prints of the 252-page score from which neighbor. People in Leningrad had much to weep conductors could work and parts could be made.

bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 27 PROGRAM NOTES about. The book Testimony, published by Volkov and The identical repeats were not the only extraordinary supposedly containing the memoirs of Shostakovich, feature of this section. Another was the intentional has been decried as inauthentic, but this sentence triviality of the theme repeated (many have noted undoubtedly rings true: “[The Seventh is] not about the resemblance to the “Maxim” song from Lehár’s Leningrad under siege, it’s about the Leningrad that The Merry Widow). British critic Hugh Ottaway once Stalin destroyed and that Hitler merely finished off.” wrote that this innocent-looking little melody almost made the Nazi hordes look like “paper tigers.” I think, A composer who was very close to me once said: on the contrary, that the very vacuity of the theme “I never ask myself what music to write, only what qualifies it as a parody of an imaginary march the music wants to be written by me.” What music Nazis (or whoever the evil forces are) might have “wanted to be written” under these dramatic sung. Which makes the parody of this passage in the circumstances by a fellow sufferer? First of all, fourth movement of Bartók’s Concerto for Orchestra it was absolutely crucial for Shostakovich to the parody of a parody, although Bartók evidently did express himself in ways that could be immediately not realize that. understood by the masses whose destinies were so inextricably linked to his own. The composer went After reaching a monumental climax, the war out of his way to write simply, with melodies built on theme gradually dissolves and the idyllic initial scales and a great deal of symmetrical, foursquare materials return. (The lyrical bassoon solo has rhythms. He also needed to portray tragedy and been interpreted as a dirge for those who died in turmoil but also offer comfort and hold out the hope the war.) Ultimately, all that remains of the war for healing and a better future. Accessibility and theme is a distant and quite harmless echo at the optimism were, of course, qualities for which the movement’s close. Soviet authorities were constantly taking composers to task, and several times during his career, At first, Shostakovich intended to have this movement Shostakovich ran afoul of the Party apparatchiks stand by itself as a symphonic poem. When he on those very points. But this time, the composer changed his mind and wrote three more movements could sincerely and honestly identify with the to complete the classical symphony scheme, he requirements of accessibility and optimism, which faced the obvious problems of how to reconcile were essential for survival during the years of the war. the dictates of that scheme with the programmatic And this is true whether we believe the symphony depiction of war. According to his own words, the is about the Nazi attack or about evil in a more two middle movements were meant to “ease the universal sense. tension” and the finale to portray “victory.” Yet the case is more complex: the middle movements That attack, the most famous segment of the are far from tension-free and the finale reaches symphony, and the simplest and most memorable victory in a rather circuitous way. Taken as a group, of all its themes, occurs after a confident movements 2 to 4 take a step back after the first C-major opening and a dream-like, ethereal section movement’s mighty “peace-war-peace” sequence, in G major that suggests a peaceful idyll. Then, the and offer lyrical meditations with occasional march begins, pianissimo at first, and repeated dramatic interruptions. The former are often expressed in identical fashion no fewer than eleven times, by long instrumental solos, mainly for members of the in a gradual crescendo that inevitably invited woodwind family; the latter are characterized by comparisons with Ravel’s Boléro. Shostakovich faster tempos, ostinato rhythms and jarring commented: “Idle critics will no doubt reproach me dissonances, as in the middle sections of both the for imitating Ravel’s Boléro. Well, let them, for this is second and the third movements. how I hear the war.”*

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The second movement seems literally to “take a step Duration of complete work: 1:10:00 back” even in its tonality: B minor, a half-step down Last CSO performance(s) of work: 2/5/2006 with from the first movement’s C. It starts out as a gentle Peter Stafford Wilson, conductor allegretto, with long melodic lines unfolding over a characteristic rhythmic accompaniment. Yet the Notes by Peter Laki. shrill sound of the piccolo clarinet is the harbinger of new conflicts: the middle section, in the words * Russian literary historian Abraam Gozenpud has of commentator Robert Dearling, is “full of the pointed out an interesting parallel with one of most appallingly harrowing devices.” A modified Shostakovich’s favorite writers: recapitulation follows. The main theme, played by the solo oboe at the beginning of the movement, is now Shostakovich, like Dostoevsky, shows how evil is given to the bass clarinet. The extreme low register born, and how what appears to be harmless in lends an eerie quality to this eminently lyrical melody. origin can turn into something dangerous and destructive. In The Possessed, Lyamshin improvises The third movement is, in Shostakovich’s words, on the piano and combines “The Marseillaise” the “dramatic center of the whole work.” It may with the sentimental song “Ach, mein lieber have been “Our Country’s Wide Spaces” according Augustin.” Gradually this harmless little song to the official program, yet it was (and is) widely changes its character and acquires a threatening perceived as a lament for the victims of the war. note; it starts to rage and rampage mostrously After a few introductory wind chords, the violins and terrifyingly. in unison (with almost no accompaniment) make a solemn proclamation. If the tone of the second In the first movement of Shostakovich’s Seventh movement was set by a great oboe solo, this time it Symphony the harmless marching song gradually is the flute that plays the role of principal soloist. Its acquires the force of a hurricane which blows slowly unfolding melody eventually leads to a middle everything from its path. There is of course a radical section in which the specters break loose again: difference between Lyamshin’s improvisation, a passionate string melody evolves into a highly which was derived from France’s defeat in the agitated dramatic statement that eventually subsides 1870 war with Prussia, and the Seventh Symphony to prepare the return of the quiet and solemn music created during the Second World War, which we heard earlier. depicts not only the theme of the enemy’s attack, but a faith in Soviet victory. But it seemed The finale, as Ottaway observed, “is by no means the to me that the idea behind the conception of barn-storming type of movement that a vision of victory the central episode in the Symphony’s first might seem to suggest.” Buth then, Shostakovich’s movement shares a certain similarity with optimism is not the cheap socialist realist variety Lyamshin’s improvisation. promoted by the authorities. An enigmatic opening and an extended stormy passage, contradicting the (Published in Elizabeth Wilson, Shostakovich: idea of victory with its ostensibly tragic C-minor A Life Remembered, Princeton, 1994, p. 459.) tonality, are followed by a lengthy section in a relatively slow tempo (“Moderato”), another possible song of It should be noted that Shostakovich’s penultimate mourning for the victims. The triumphant conclusion composition, Four Verses of Captain Lebyadkin arrives only at the very end, with the recapitulation (1974), was a setting of poems from The Possessed of the first movement’s opening C-major theme. (also known in English as The Demons), a book that Now at last the triumph is complete, with no holds was obviously close to his heart. barred, as the majestic fanfares take over the entire orchestra in a penetrating triple fortissimo.

bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 29 bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 30 FRIDAY, JANUARY 11, 2019, 8:00 P.M. SATURDAY, JANUARY 12, 2019, 8:00 P.M. RUSSIAN WINTER FESTIVAL II TCHAIKOVSKY’S PIANO CONCERTO OHIO THEATRE Columbus Symphony Masterworks Series

Rossen Milanov, conductor Dancers from BalletMet Sergei Babayan, piano • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • PIOTR ILYICH TCHAIKOVSKY Selections from Sleeping Beauty, Op. 66 I. Introduction: La Fée des lilas II. Adagio: Pas d’action III. Pas de deux IV. Valse Dancers from BalletMet

PIOTR ILYICH TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23 I. Allegro non troppo e molto maestoso II. Andantino semplice III. Allegro con fuoco Sergei Babayan, piano

INTERMISSION SERGEI PROKOFIEV Symphony No. 5 in B-flat Major, Op. 100 I. Andante II. Allegro moderato III. Adagio IV. Allegro giocoso

THIS CONCERT IS DEDICATED IN MEMORY OF ROBERT E. AND DOLORES L. MILLAT.

ADDITIONAL SUPPORT PROVIDED BY MASTERWORKS HOTEL SPONSOR:

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Teatro alla Scala, BBC Scottish Symphony Orchestra, the Mariinsky Orchestra, Szczecin and Belgrade Philharmonics and the Verbier Festival Orchestra, at Daniel Barenboim’s spectacular new Pierre Boulez Hall in Berlin, at Philharmonie Essen, Stuttgart Liederhalle and Wigmore Hall. With Martha Argerich, with whom he has frequently collaborated for many years, he will also appear in a number of European cities. Sergei Babayan has been regularly invited to leading festivals in Verbier and Lugano, Klavier-Festival Ruhr, Edinburgh Festival and the ‘Stars of the White Nights’ Festival in St. Petersburg. Mr. Babayan performs with the world’s foremost orchestras, including the London Symphony, Cleveland Orchestra, Orchestra of the “Technical brilliance and imaginative delight...” Mariinsky Theatre, Warsaw Philharmonic, BBC Scottish London Times Symphony Orchestra, Orchestre Nationale de Lille, Detroit Symphony Orchestra, Baltimore Symphony He is one of the leading pianists of our time: Orchestra and the New World Symphony. Hailed for his emotional intensity, bold energy and remarkable levels of color, Sergei Babayan brings His engagements and tours have brought him to a deep understanding and insight to a stylistically preeminent international concert venues including diverse repertoire, which includes a performance Salle Gaveau in Paris, Wigmore Hall in London, Carnegie history of 60 concerts. Le Figaro has praised his Hall in New York, the Warsaw Philharmony, Severance “unequaled touch, perfectly harmonious phrasing Hall in Cleveland, Mariinsky Theatre in St. Petersburg, and breathtaking virtuosity.” Le Devoir from Montreal Herkulessaal in Munich, Liederhalle in Stuttgart, put it simply: “Sergei Babayan is a genius. Period.” Meistersingerhalle in Nuremberg, Konzerthaus Berlin, Brahms-Saal Karlsruhe, Beethovenhalle Bonn, Sergei Babayan has collaborated with such conductors Rudolfinum-Dvorak Hall in Prague, Victora Hall in as Yuri Temirkanov, Neeme Järvi, Hans Graf, David Geneva and many others. Mr. Babayan’s performances Robertson, Tugan Sokhiev, and Dima Slobodeniouk, have been broadcast by Radio France, Polish Radio among others. Over the years, Babayan has performed and Television, BBC-TV and BBC Radio 3, NHK Satellite with Valery Gergiev numerous times to great critical Television and Medici TV. acclaim, including appearances at the International Festival “Stars of the White Nights”, the Moscow Born in Armenia into a musical family, Babayan began Easter Festival, the Barbican Centre with Mo. Gergiev his studies there with Georgy Saradjev and continued conducting the London Symphony Orchestra, in at the Moscow Conservatory with Mikhail Pletnev, St. Petersburg’s Mariinsky Theatre, the Great Hall Vera Gornostayeva and Lev Naumov. Following his first of the Moscow Conservatory, Théâtre des Champs- trip outside of the USSR in 1989, he won consecutive Elyseés in Paris, at the Salzburg Festival, and at first prizes in several major international competitions the Rotterdam Philharmonic-Gergiev Festival where including the Cleveland International Piano Babayan was artist-in-residence. Competition, the Hamamatsu Piano Competition, and the Scottish International Piano Competition. In the 2017/18 season, Mr. Babayan’s European An American citizen, he lives in New York City. schedule includes concert performances with the Orchestre de la Suisse Romande, the Cameristi del

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Suite from Sleeping Beauty (1888-89) It took him about ten more weeks to write out the by Piotr Tchaikovsky (Kamsko-Votkinsk, full score. Rehearsals began on August 23, and after Russia, 1840 – St. Petersburg, 1893) four months of hard work, the premiere took place on January 3, 1890 (January 15 according to the The Beautiful Dreamer who herself is the object of Western calendar). someone else’s dreams has become something of a communal dream, achieving the status of a myth in the Sleeping Beauty was billed as a ballet-féerie (“fairytale Western world, where many generations were brought ballet”) and produced with lavish sets and luxurious up on this enchanting tale. It was French writer Charles costumes. It was a great success, prompting the Perrault who first put it to paper as La Belle au participants of this performance to collaborate again bois dormant, in his Stories of Mother Goose of two years later, giving the world The Nutcracker. 1697. The Brothers Grimm further popularized it as Dornröschen in the early 19th century. In our time, most The suite derived from Sleeping Beauty presents of us know the story from the Walt Disney animation some of the score’s greatest excerpts. After a short, classic, while academics have been busy analyzing festive introduction, the first movement presents the the psychological, feminist, and many other good Lilac Fairy, the Princess’s godmother, portrayed implications of “fairy tale Aarne-Thompson type 410.” by a haunting English horn melody accompanied by lush harp chords. In a striking passage about halfway It was in 1888 that Marius Petipa, the French-born through the movement, the Fairy raises her magic director of the Imperial Ballet in St. Petersburg, wand to make everyone and everything in the castle decided to create a full-length ballet based on what fall asleep after the Princess has fallen asleep. The in Russian was known as Spyáshchaya krasávitsa. second movement, “Puss in Boots,” is from the last act For the music, he turned to Tchaikovsky, at the urging of where, during the wedding festivities, the characters of theater director Ivan Vsevolozhsky, a longtime admirer many familiar fairytales (including Cinderella and Little of the composer’s. Vsevolozhsky himself created the Red Riding Hood) come alive to entertain Princess libretto after Perrault and the Grimms. The ballet Aurora and her Prince. The evocative oboe motif at the consisted of a prologue and three acts. In the Prologue, beginning is probably the best instrumental imitation the new-born princess, Aurora, receives the blessings of a cat’s meow ever penned. For the “Panorama” of six fairies, and the curse of the seventh one movement, we have to picture the magic boat in which (here called Carabosse) who wasn’t invited to the the Lilac Fairy leads Prince Désiré to the sleeping festivities. Act I takes place on Aurora’s 20th birthday Princess. Finally, the great Waltz, known as the “Garland when she pricks her finger on a spindle handed to her Waltz,” takes us back to the moment where the entire by an old woman (Carabosse, of course). The Lilac Fairy court pays homage to the beautiful Princess Aurora on commutes what would otherwise be a death sentence to her birthday, when no one has yet any inkling of the sleep for a hundred years—and the entire kingdom goes events to come. to sleep along with the favorite daughter. Act II shows Prince Désiré’s journey, 100 years later, to Aurora’s Duration of complete work: 20:00 castle, and Act III the very elaborate wedding party. Concerto for Piano and Orchestra No. 1 Tchaikovsky worked closely with Petipa during the in B-flat minor, Op. 23 composition of the ballet, receiving (and mostly following) detailed instructions from the choreographer. (1874-75, rev. 1879, 1888) Work on the score went rather swiftly. Tchaikovsky by Tchaikovsky recorded the progress he was making in his diary, and Before Tchaikovsky, the history of the Russian piano on the last page of his sketches, he noted: concerto consisted largely of four concertos by his teacher Anton Rubinstein (he added a fifth in 1874/75, Finished the sketches 26 May 1889 in the evening concurrently with his former student’s First)—plus two at 8 o’clock. Praise God! In all I worked 10 days in unfinished works by Balakirev. It was left to the young October, 3 weeks in January, and a week now! And so Tchaikovsky to turn the form of the concerto, which, in all about 40 days.

bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 33 PROGRAM NOTES in Rubinstein’s hands, had been perceived as overly and tawdry, that I had filched this bit from here and Germanic in style, into something authentically Russian. that bit from there, that there were only two or three Rubinstein’s combination of muscular technique pages that could be retained, and that the rest would and effusive lyricism was a great influence on the have to be scrapped or completely revised. “Take young composer, but Tchaikovsky had to find his own this, for instance—whatever is it?” (at this he plays solution to the problem of form. In his four-volume the passage concerned, caricaturing it). “And this? Is Tchaikovsky biography, musicologist David Brown noted: this really possible?”—and so on, and so on. I can’t “Thematic development, which came so readily to the convey to you the most significant thing—that is, the German symphonic composer, was thoroughly alien tone in which all this was delivered. In a word, any to Russian creative thought.” Brown describes that outsider who chanced to come into the room might thought as “reflective rather than evolutionary.” This have thought that I was an imbecile, an untalented means, musically speaking, that the Russian composer scribbler who understood nothing, who had come to can “conceive self-contained [and] often magnificently an eminent musician to pester him with his rubbish... broad themes,” but encounters “problems when he wishes to evolve to the next stage of the piece.” I was not only stunned, I was mortified by the whole scene....I left the room silently and went upstairs. This “reflective” quality resulted in charges of I could say nothing because of my agitation and formlessness against the concerto. Even some anger. Rubinstein soon appeared and, noticing my of Tchaikovsky’s closest friends found fault with its distraught state, drew me aside into a distant structure: on Christmas Eve 1874, Nikolai Rubinstein room. There he told me again that the concerto lashed out at Tchaikovsky in particularly harsh was impossible, and after pointing out to me a lot of terms. Anton Rubinstein’s younger brother was places that required radical change, he said that if by himself a noted pianist, composer, conductor, and such-and-such a date I would revise the concerto in conservatory director who had invited Tchaikovsky to accordance with his demands, then he would bestow join the faculty of the Moscow school he had founded. upon me the honor of playing my piece in a concert of Tchaikovsky related the incident (at which two other his. “I won’t change a single note,” I replied, “and I’ll colleagues were also present) to his benefactress and publish it just as it is now!” And so I did! confidante-by-correspondence, Mme von Meck: Tchaikovsky had more immediate luck with his I played the first movement. Not a single word, not concerto outside Russia. It was taken on by no less an a single comment! If only you could have known artist than Hans von Bülow, who, throughout his long how foolish, how intolerable is the position of a man career, had been closely associated with some of the when he offers his friend food he has prepared, and greatest composers of the time, such as Liszt, Wagner, his friend eats it and says nothing. Say something, if and Brahms. Bülow, who went on an American tour only to tear it to pieces with constructive criticism— in 1875, gave the world premiere of the concerto in but for God’s sake, just one kind word, even if not Boston in October of that year. of praise! ... Rubinstein’s eloquent silence had tremendous significance. It was as though he was As far as revisions to the concerto were concerned, saying to me: “My friend, can I talk about details Tchaikovsky did not remain as adamant as he was when the very essence of the thing disgusts me?” at the beginning. Although he rejected Nikolai I fortified my patience, and played on to the end. Rubinstein’s criticism, he later heeded the advice Again silence. I got up and asked, “Well?” It was then of Edward Dannreuther (who played the solo at the that there began to flow from Nikolay Grigoryevich’s English premiere) and made emendations to the solo mouth a stream of words, quiet at first, but part in 1879. He revised the work again in 1889, subsequently assuming more and more the tone of and it was then that the opening D-flat major chords Jove the Thunderer. It appeared that my concerto was received the shape in which they became famous. worthless, that it was unplayable, that passages were trite, awkward, and so clumsy that it was impossible It is not clear what factors had been responsible to put them right, that as composition it was bad for Rubinstein’s violent outburst at Christmas 1874.

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In any event, less than a year later, he conducted the Symphony No. 5 in B-flat major, Moscow premiere of the concerto, with Tchaikovsky’s Op. 100 (1944) student, the 18-year-old Sergei Taneyev at the piano. by Sergei Prokofiev (Sontsovka, Ukraine, 1891— Rubinstein eventually recanted his earlier judgement Nikolina Gora, nr. Moscow, 1953) completely, learned the solo part himself, and became one of the concerto’s most celebrated interpreters. He In the 19th century, symphony as an artform acquired remained a staunch champion and friend of Tchaikovsky’s certain attributes it had not possessed earlier. until his untimely death in 1881. Externally, symphonies became longer and longer and employed ever vaster orchestral resources. Beneath At first hearing, this concerto does possess a few that surface, the emotional range of the works features that might have perturbed a professor of expanded dramatically, and the symphony often came music in 1874. It opens with a lengthy passage outside to represent a struggle between opposing forces. To the main key, in a 3/4 meter that will soon be replaced an increasing extent, symphonies were both conceived by 4/4, never to return. But David Brown discovered and perceived as a form of instrumental drama, with some secret motivic links that connect this introduction forces of “darkness,” “light,” “fate,” “longing” etc. either to the main section of the first movement, and argued explicitly or implicitly present in the music. for the presence of a strong organic unity between the movement’s themes. Brown also speculated that Very few 20th-century composers have been able to two of the motifs are ciphers for Tchaikovsky himself address this characteristic of the Romantic symphony and Désirée Artôt, a Paris-born singer of international without falling into the trap of epigonism. Many were reputation, to whom the composer had once proposed turned off by the intense emotionality of the Romantic marriage. (In fact, the second theme begins with the symphony. One of the first composers to turn their notes D-flat–A [in German “Des”–“A”], and that could backs on this approach was the young Prokofiev, very well stand for DÉSirée Artôt.) who in his Classical Symphony (1917) had adopted an 18th-century formal framework and proceeded to Each of the concerto’s three movements incorporates poke gentle fun at the entire classical tradition. a folksong. The first movement includes a melody that Tchaikovsky had taken down at Kamenka, where his Much water had passed under the bridge since sister and her family had an estate, apparently from a that youthful tour de force. After years of revolution, Ukrainian kobzar, one of many blind itinerant singer- emigration and homecoming, the 50-year-old Prokofiev musicians. In the “Prestissimo” middle section of the found himself in a Soviet Union where his situation, second movement, we hear a French “chansonette,” problematic to begin with, became downright critical “Il faut s’amuser and rire” [Let’s have fun and laugh] after the Nazi invasion. Evacuated from Moscow, the that was popular in Russia at the time (Brown writes: composer was forced to move to the Caucasus and “It is said to have been a favourite in Artôt’s repertoire.”). subsequently to Central Asia. Also during this time, Finally, the last movement begins with another Ukrainian Prokofiev’s marriage broke up and the composer was tune. In different ways, all three movements are based now living with a woman many years his junior. It was on the contrast between these playful folk themes and under these circumstances that Prokofiev returned to the lyrical materials that surround them. It is perhaps symphonic form for the first time in fourteen years. (His this mixture of styles—now light, now sentimental, now Symphonies Nos. 2-4 had been written in emigration “pathétique”—that is the most unique feature of the between 1924 and 1930.) concerto. The boldness with which Tchaikovsky leaps from one mood to the next helps to make this work It may have been, at least in part, the war experience sound fresh and youthful, even after thousands and that enabled Prokofiev to connect with the symphonic thousands of performances around the world. tradition of the 19th century and to embrace its dramaturgy. The Fifth claims Brahms, Tchaikovsky, Duration of complete work: 33:00 and Sibelius as its spiritual ancestors, and even the Last CSO performance(s) of work: 10/12/2012 influence of Shostakovich, Prokofiev’s younger Russian Jean-Marie Zeitouni, conductor; Nareh Arghamananyan, piano contemporary and rival, may be felt occasionally. In Prokofiev’s Fifth, the traditional symphonic struggle

bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 35 PROGRAM NOTES ends with a complete victory, consistent with Soviet The third-movement Adagio is the emotional expectations, which for once coincided with Prokofiev’s centerpiece of the symphony. It begins with an own personal feelings. expressive melody played by the clarinets that develops towards a climax of great intensity. In the middle Prokofiev himself felt that he had produced his finest section, there appears a figure in dotted rhythm (with work with the Fifth Symphony. He called it “a symphony longer and shorter notes alternating) that gives the about the human spirit,” and, using typical Soviet section a firm and resolute character. The slightly propagandistic jargon, declared: “I wanted to sing the modified recapitulation ends abruptly after a praises of the free and happy human being—of such a powerful crescendo. person’s strength, generosity, and purity of soul. I cannot say I chose this theme; it was born in me and had to The finale opens with a short introduction based express itself.” on reminiscences of the first movement. The main theme is, once more, presented by the clarinet to After his return to Moscow, Prokofiev spent the summer a march-like ostinato (rhythmically unchanging) of 1944 in Ivanovo, outside the capital, at a vacation accompaniment. The entire movement exudes the estate run by the Soviet Composers’ Association. The “free and happy” spirit Prokofiev spoke about. Its most prominent Soviet composers—Shostakovich, initially relaxed and easy-going mood becomes more Khachaturian, and Kabalevsky—were all there. It exuberant towards the end. The growing role of the was in that nurturing environment, under conditions percussion instruments is to a large part responsible for significantly better than those prevailing in the city, that the increase in excitement that culminates in the last the symphony was written, at the exact time when the measures of the symphony. Red Army was liberating Russia from the Nazi invaders. The premiere of the Fifth Symphony, on January 13, Prokofiev’s Fifth is an eminently melodic piece. Each of 1945, was Prokofiev’s last appearance as a conductor. its four movements is full of singing themes and Three weeks later he had a heart attack that caused expansive lyrical phrases. Traditional schemes such him to fall down the stairs at his house and suffer as sonata form or scherzo are respected, but these a brain concussion. He never fully recovered, and formal outlines are filled out with material that is not although he continued to compose almost to the end always consistent with tradition. The first movement, of his life, his health remained precarious. The infamous for example, is an almost academically rigorous sonata party resolution of 1948, which denounced Prokofiev, form, but its tempo is a leisurely Andante instead of Shostakovich and others as “formalist” composers the faster Allegro that might have been expected— (the ultimate condemnation at the time), was a further a circumstance that confers a greater dramatic weight blow. The Fifth Symphony, eagerly anticipated by the on the movement. Two of the themes are lyrical and Soviet musical world and greeted with enthusiasm by introspective, while the faster-moving third subject is critics and audiences alike, remained Prokofiev’s last closer to a scherzo character. The elaboration of all three unqualified success. The symphony, whose performance ideas is frequently contrapuntal, with several different was preceded by the announcement of the Red Army’s melodic lines superimposed on one another. latest victory by the Vistula river, reflected not only the feelings of the composer, but also those of a “free and The second movement is a scherzo in all but name. happy” audience. Its main melody, in the droll vein that is so typical of Prokofiev, is first played by the solo clarinet to a violin Duration of complete work: 46:00 accompaniment that keeps repeating a single two- Last CSO performance(s) of work: 2/20/2010 note pattern. The orchestration of this theme becomes with Edwin Outwater, conductor richer and more varied as the movement progresses. The middle section is a fast dance in 3/4 time, Notes by Peter Laki. framed by a haunting woodwind melody in a slower tempo. The scherzo music then returns, shriller and more energetic than the first time; the movement ends abruptly after a powerful orchestral crescendo.

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BOARD OF TRUSTEES ADMINISTRATION Lisa Barton, Chair Robert E. Morrison, Jr., Vice Chair executive Denise Rehg, Amy T. Shore, Secretary Executive Director Alan Litzelfelner, Treasurer Sandy Osterholtz, Executive Assistant artistic operations TRUSTEES Pavana Stetzik, General Manager Matthew Allyn Daniel Walshaw, Kurt Bendeck Director of Artistic Planning and Business Development G. Ross Bridgman Daren Fuster, Personnel and Community Robert Cochran Engagement Manager Michael P. Foley Jean-Etienne Lederer, Principal Librarian Kenneth M. Freedman William Lutz, Hector Garcia Stage Manager Jack George development Stephanie Davis Wallace, PhD, Marilyn Harris Donor Relations Manager Cindy Hilsheimer Susan Ropp, Foundations and Grants Manager Terry Hoppmann Katie Cullen, Michelle Kerr Data Analyst and Project Manager Julie Weeks, Talvis Love Special Events Manager Varun Mahajan MD, DABR education and Jane Mattlin community outreach Jeani Stahler, David Milenthal Director of Education Brandi Daramola, Christine Shumway Mortine Youth Orchestras Manager Gay Su Pinnell finance Steve Snethkamp John Callahan, Director of Finance Michael Weiss Linda Matheis, Nelson Yoder Accountant marketing Kathy Karnap, EX-OFFICIO TRUSTEES Director of Marketing Lyn Savidge Holly Wiencek, Marketing Manager Jane McKinley Rolanda Copley, Karl Pedersen Publicist Betsy Sturdevant ticketing Mike Marks, Director of Ticketing Billy Boyd, HONORARY TRUSTEES Subscription Sales & Ticket Manager Gene D’Angelo JoLane Campbell, Group Sales Ron Pizzuti Zuheir Sofia 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 CSO staff.

Ann Allen Sandy Green Eloise McCarty Pat Sprouse Lois H. Allen Marjorie Gurvis Linda McCutchan Vera Spurlock Patricia Barton Helen Hall Jane McKinley Libby Stearns Mary Beitzel Winona Hamilton Barbara McSheffery Evelyn Stevens Mrs. Rhoma Berlin Anne Highland Peggy Merrill Eleanor Stottlemyer Kathie Boehm Diane Hockman Betsy Mincey Louise Swanson Jean Borghese Betty Holland Janice G. Minton Jan Teter Mrs. Richard A. Brown Jacqueline Holzer Gretchen Mote Jean Teteris Dorothy Loew Cameron Lois Hornbostel Barbara McAdam Muller Angela M. Thomas Louise Carle Rose Hume Sandy Murray Frances Thurman Patricia Carleton Susan Hutson Barbara Mustric Muriel Tice Donna Cavell Darlene Jones Mrs. Peter Neckermann Claryss B. Tobin Ann Christoforidis Penny Jones Betsy Nichols Caryl Trittipo Barbara L. Chuko Gisela Josenhans Therese Nolan Martha Tykodi Diane Conley Melba Kabelka Alice Nowaczek Georgia L. Verlaney Patricia Cooke Dianne Keller-Smith Sandy Osterholtz Jan Wade Janet Cox Lenna Klug Ilona Perencevich Shirley Wagner Sidney Dill Nancy Koeninger Katie Potter Dr. Stephanie Monica Dunn Nancy Kolson Sandra Pritz Davis Wallace Gussie Dye-Elder Denise Kontras Victoria Probst Joan Wallick Jeanine Ellis Barbara Lach Tricia Raiken Barbara Weaver Mary Jane Esselburne JoAnne Lang Denise Rehg Eloise Weiler Patricia Evans Sarah Larrimer Maryann Rinsch Marilyn P. Wenrick Mary Lou Fairall Mary Lazarus Jodi Ross Babette Whitman Nancy Fisher Nancy Lee Jeannine Ryan Amanda Wilson Joan Foucht Jocelyn Lieberfarb Lu Sarver Cynthia Woodbeck Pauline Fritz Donna Lyon Nancy Savage Sally Woodyard Donna Gerhold Susan J. Mancini Ernette Schultz Mary Lou Wright Pat Gibboney Janet Mann Lois Sechler Marjorie Wylie Valerie Gibbs Janice Marks Debi Seckel Carol Zanetos Barbara E. Goettler Marianne Mathews Ann McKinnon Seren Harriet Grail Sondra A. Matter Barbara Shafer Mrs. Barna J. Graves Deborah Norris Matthews Mrs. Norman T. Smith

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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 specific CSO projects and programs, including the Endowment of the Principal Harp Chair.

ACTIVE MEMBERS June Loving SUSTAINING MEMBERS Constance Bauer Peggy Malone Brenda Aidt Jean Bay Sharie McQuaid Sharon Beck Marcia Bennett Frances Monfort Barbara Bennett Connie Cahill Barbara Muller Susan Berry Lyn Charobee Julie Owens Martie Bullock Barbara Clark Carol Paul Pam Conley Chris Close Colette Peterson Mary Greenlee Susan Cochran Mickey Pheanis Marilyn Harris Judy Connelly Sally Pilcher Victoria Hayward Lorie Copeland Gay Su Pinnell Estelle Knapp Louise DiMascio Diane Prettyman Jane McMaster Amy Drake Paulette Prohaska Marilee Mueller Phyllis Duy Denise Rehg Gerri Peterman Nancy Edwards Joy Reyes Patricia Smith Marion Fisher Connie Ricer Deb Susi Belle Francisco Lyn Savidge Sandy Willetts Donna Gerhold Judith Swanson Catherine Griffin Jennifer Tiell HONORARY MEMBER Carol Huber Mary Weatherwax Jude Mollenhauer Amelia Jeffers Gwen Weihe Darlene Jones

To join, contact Susan at [email protected] or Carol at [email protected].

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We gratefully acknowledge the following (2017-2018) season Partners in Excellence, who are leading the way to sustain the CSO’s positive momentum. Anonymous (3) Cindy and Larry Hilsheimer Jane P. Mykrantz and Advanced Drainage Systems Fred and Judy Isaac Kiehner Johnson Lois H. Allen Nancy Jeffrey Gay Su Pinnell Lisa and Chris Barton Mr. Eric T. Johnson and Wayne and Cheryl Rickert Mrs. Rhoma Berlin Dr. Rachel G. Mauk Andy and Sandy Ross Jim and Susan Berry Steve and Diane Jones Amy and Alan Shore Mr. and Mrs. James L. Boggs Frank and Linda Kass George and Patricia Smith Mr. and Mrs. Thomas H. Brinker Mary Lazarus Kim and Judith Swanson Robert and Susan Cochran Alan and Ginny Litzelfelner Sheldon and Rebecca Taft Ted and Lynn Coons Nancy and Tom Lurie Jennifer Tiell and Mark Adelsperger Janet and Robert Cox Don Lynne David H. Timmons Dr. and Mrs. Jerome J. Cunningham Albert N. and Susan J. Mancini Craig D. and Connie Walley Marvin E. Easter Emily McGinnis Dr. Gifford Weary and Cornelia B. Ferguson Lawrence and Katherine Mead Mr. David Angelo Francille and John Firebaugh Barbara and Mervin Muller Thomas and Gwen Weihe The Rev. Earl and Pauline Fritz Tom and Melanie Murray William and Jane Wilken Jack and Joan George

CORPORATE AND FOUNDATION PARTNERS

With gratitude, the Columbus Symphony acknowledges all of 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, 2017 to August 31, 2018.

$150,000 AND ABOVE $25,000-$49,999 Cameron Mitchell Premier Events Central Management Company Crane Group Columbus Symphony League Crawford Hoying Friends of the Columbus Symphony Hamburg Fireworks Mattlin Foundation Heartland Bank PNC Arts Alive Heidelberg Distributing Co. Huntington Private Bank $10,000-$24,999 Lightwell Advanced Drainage Systems Limited Brands Battelle Loeb Electric Big Lots Merrill Lynch CAPA Mount Carmel Health System Edward Jones Ohio Foam Corporation Giant Eagle Market District Pepsi Graeters - Bethel/Corporate Porter Wright Morris & Arthur, LLP Greif, Inc. (Education) Rise Brands Honda of America Mfg. Siemer Family Foundation Infinite Energy Vorys, Sater, Seymour and Pease, LLP John Gerlach and Company LLP Washington Prime Group Johnstone Fund for New Music The Waterworks $100,000-$149,999 Martha Holden Jennings Foundation OhioHealth $2,750-$4,999 PNC Aetna The Reinberger Foundation Continental Office Renewal by Andersen Epcon Communities Inc. Safelite AutoGlass Ernst and Young LLP $50,000-$99,999 The Woodhull Fund of GBQ Cardinal Health The Columbus Foundation The Harry C. Moores Foundation CDDC/Capitol South Hinson Family Trust Huntington Bank $5,000-$9,999 Hollywood Casino The Jeffrey Company Abercrombie and Fitch King Business Interiors The American Legion Department of Ohio Lifestyle Communities

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Live Technologies LLC Wasserstrom KPMG McGohan Brabender White Castle Management Co. New Visions Group, LLC Plante Moran, PLLC The Robert Weiler Company Schneider Downs $1,000-$2,749 Value City Furniture Taft, Stettinius and Hollister Alliance Data Thompson Hine LLP Grange Insurance

INDIVIDUAL PARTNERS

With gratitude, the Columbus Symphony acknowledges all of our individual donors. This publication lists names of donors who made gifts, pledges and in-kind donations of $300 or more from September 1, 2017 to August 31, 2018.

$250,000 AND ABOVE $5,000-$9,999 Jim and Susan Berry CSO Musicians Outreach Fund of Anonymous (5) Mr. and Mrs. Thomas H. Brinker The Columbus Foundation George Barrett Dorothy Burchfield Jack and Joan George Don M. Casto Dorothy Loew Cameron Anne Melvin* Loann Crane Judge John Connor Patricia A. Cunningham and Ted and Lynn Coons $150,000-$249,999 Craig R. Hassler Marilyn Harris Gay Su Pinnell Mr. and Mrs. Jerome G. Dare Raymond and Karen Karlsberger James and Ruth Decker Linda and Frank Kass $50,000-$149,999 Garrett and Sidney Dill Elliott Luckoff and Fran Luckoff Anonymous Mr. and Mrs.* C. John Easton Nancy and Tom Lurie Mrs. Rhoma Berlin Jeff and Lisa Edwards Varun and Monica Mahajan Andy and Sandy Ross Cornelia B. Ferguson Mark and Christine McHenry Sheldon and Rebecca Taft John and Bebe Finn Mark, Seton and Anne Melvin Michael and Kris Foley Mervin and Barbara Muller $25,000-$49,999 The Rev. Earl and Pauline Fritz Ben and Rebecca Ramirez Anonymous (4) James P. Garland and Carol J. Andreae Ernest* and Aurelia* Stern Lisa and Chris Barton Mr. Jeff Harris Drs. Grant Wallace and G. Ross and Patricia Bridgman Mr. Eric T. Johnson and Dr. Rachel G. Mauk Stephanie Davis Wallace Robert and Susan Cochran Mike and Linda Kaufmann Dr. and Mrs. Jerome J. Cunningham Don Lynne $1,200-$2,749 Ann Ekstrom* Albert N. and Susan J. Mancini Anonymous (3) Nancy Jeffrey Matteson Garcia Family Tara Abraham Denise Rehg Lawrence and Katherine Mead Matt and Tiffany Allyn George D. Ryerson* Rossen Milanov Sine-Marie Ayres Mr. and Mrs. Michael Weiss David and Bonnie Milenthal Rita Barnum Annette Molar* Paul and Tere Beck $10,000-$24,999 Robert and Lori Morrison Alfred H. Bivins Anonymous (3) Tom and Melanie Murray Nadine Block Lois H. Allen Jane P. Mykrantz and Kiehner Johnson Jim and Margaret Boggs Tom W. Davis Ron and Ann Pizzuti Drs. Patricia and James Caldwell Charles and Alice Driscoll Anne Powell-Riley Paul Carbetta Catherine Graf* Martyn and Lynne Redgrave Derrick R. Clay Cindy and Larry Hilsheimer Tadd and Nancy Seitz Pam Conrad Mary Lazarus Robert and Ann Shelly Jeffrey and Lorie Copeland Jane Mattlin Emily and Antonio Smyth Janet and Robert Cox Andrew and Bette Millat Steve Snethkamp Beth Crane and Richard McKee Amy and Alan Shore Alden* and Virginia* Stilson Jim Crane and Laura Dehlendorf George and Patricia Smith Craig D. and Connie Walley Mr. Carl D. Cummins Zuheir and Susan Sofia Dr. Gifford Weary and Mr. David Angelo Mr. and Mrs. Thomas Driskell Kim and Judith Swanson Thomas and Gwen Weihe Marvin E. Easter Thomas R. Gross Family Foundation Willis S. White, Jr. Francille and John Firebaugh David H. Timmons Alex Fischer and Lori Barreras Scott White $2,750-$4,999 Kenneth Freedman Nelson and Betsy Yoder Anonymous Judy Garel Michael Ahern and Sandy Doyle-Ahern Donald and Eydie Garlikov Dr. Constance Bauer and James Vaughan Barbara E. Goettler Felicia Bernardini Robert C. and Beverly A. Goldie

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Linda and Bill Habig Matthew Cohen and Susan Geary Richard H. and Judith B. Reuning Richard Hillis Michael S. and Paige D. Crane Lisa Rhyan and Daniel Zambory Ellis and Beverly Hitt Tom and Nancy Crumrine Jan Ryan Ted and Eileen Huston Tracy and Ed Davidson Dr. Philip and Mrs. Elizabeth Samuels Chris and Tonia Irion Philip and Susan DeVol Lyn Savidge Fred and Judy Isaac Richard J. Dick Ann Schnapp Ronald Jenkins and William Davis Mary Kay and Bill Dickinson Dr. Gordon N. Shecket Daniel L. Jensen Michael Dreiling and Shou-Shen Chen Ms. Junko Shigemitsu Steve and Diane Jones Andy and Diane Dunn Larry and Cheryl Simon Mary and Tom Katzenmeyer David and Anne Durell Jim Skidmore Chris Keller Frank and Jean Forsythe Retta and Elliot Slotnick Sandra Kight Linda Gabel Marcia Katz Slotnick Ruth and Bill Lantz Andreas and Sara Garnes The Revs. Bruce and Susan Smith Mrs. Robert E. Lindemann Dr. Annie Marie Garraway Mrs. Norman T. Smith Alan and Ginny Litzelfelner Sandra L. L. Gaunt Scott and Susan Smith Jeffrey and Wendy Luedke George and Michelle Geissbuhler Charles Snow Lowell and Nancy MacKenzie Sylvia Golberg Bill and Maggie Stadtlander Gary and Cindy Madich Joy and Michael Gonsiorowski Jeff and Jeani Stahler Sondra Matter Don Good Pavana and Thomas Stetzik Lisa Morris and Kent Shimeall Dr. Steven and Gaybrielle Gordon Thomas and Elizabeth Sturges Neil and Christine Mortine Thomas R. Gross Jr. Raja Sundararajan and Annegreth T. Nill and Bruce C. Posey Christina Old Bhooma Raghunathan Sandy Osterholtz Dr. Edward L. Hamblin Mariner R. and Janice G. Taft Greg and Alicia Overmyer Dan Hanket English Family Foundation Dr. Deborah S. Parris and Jean and Jeffrey Henderson Claryss B. Tobin Dr. David M. Bisaro Roland and Lois Hornbostel Susan Tomasky and Ron Ungvarsky Carol and Jim Paul Jason Hunt Dr. James and Jacquelyn Vaughan George and Ruth Paulson Martin and Sue Inglis Jan Wade Carole Poirier Herb and Jeanne Johnston Ray and Nancy Waggoner Doug Preisse Belinda Jones Richard H. and Margaret R. Wagner Howard and Sandra Pritz The Josenhans Family John Wakelin, M.D. and Anu Chauhan, M.D. Wayne and Cheri Rickert Rosemary Joyce Joel and Barbara Weaver Lois E. Robison Sue and Seth Kantor James Weinberg and Joanne Kesten David R. Schooler Kay Keller Hugh Westwater Mr. and Mrs.* Arthur E. Shepard Douglas and Wauneta Kerr Robert and Carole Wilhelm Robert and Anita Smialek A. Douglas and Helen Kinghorn Donice Wooster Jacqueline M. Thomas Judith E. Kleen and Robert S. Mills Becky Wright Jennifer Tiell and Mark Adelsperger Tim and Michele Koenig Skip and Karen Yassenoff Chris and Susan Timm Anne M. LaPidus Jane B. Young Robert and Kathleen Trafford Kay Leonard and Walter Watkins Jane H. Zimmerman* Anne Vogel Charles and Mary Ann Loeb James and Barbara Zook Jane Ware John Looman Francis and Lillian Webb Talvis Love $300-$599 Chad and Melinda Whittington Margaret A. Malone Anonymous (14) William and Jane Wilken Richard and Barbara Markle John and Janet Adams Greg Zanetos Dale Masel and Roberto McClin Christopher Allinson Doug and Cookie McIntyre Craig and Deborah Anderson $600-$1,199 Dr. Violet Meek and Dr. Don M. Dell Alyce C. Andrus Anonymous (12) Patricia Melvin Daria Arbogast Michael and Tina Adams Dolores Millat* Vanessa and George Arnold Judith H. Ahlbeck Lynda and Stephen Nacht Brian and Lois Baby John and Elizabeth Allemong Nancy Niemuth and Mark Ervin Marilyn and Ray Barker Allene N. Gilman Charitable Trust Aida and Robert Norman David and Joan Barnes Michelle Andre Ann and Bob Oakley Barry Zacks CSO Endowment Fund of Sheri Barber-Valentine Andrew and Riek Oldenquist the Columbus Jewish Foundation Richard and Sharon Bates Ed and Mary Jane Overmyer Patricia Barton Paul and Jan Baumer David Packer and Dr. Linda Nusbaum Janet Blair Carol Ann Bradley Jay Panzer and Jennifer Heitmeyer Paul and Lynn Blower Dr. and Mrs. J. Richard Briggs Stephen Pariser Marjorie Bohl Stephen Burson and Daniel Riquino Ellin and Richard Patchen Phyllis Bouic Robert V. Byrd Gerri and Loyal Peterman Joe and Carroll Bowman Bill Calvert Allyn and Marsha Reilly Mr. and Mrs. Thomas F. Brandt Jack and Carolyn Chabot Judy and Dean Reinhard Paul and Peg Braunsdorf

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Mrs. Margaret Broekema Marvin and Nancy Hite Stephen Rogers and Daniel Clements Joseph Buonaiuto Dr. Joseph E. Heimlich and Ellen Rose Marjorie Burnham Dr. James Hodnett Steven and Maria Rosenthal Robert Butters Jay and Jeanne Huebner Lois Rosow Connie and Denny Cahill Michael Huggett Thomas and Gail Santner Carolyn Caldwell, GPC Andrea Iesulauro Alford, Ph.D. John E. Sauer and Doreen Uhas-Sauer Catherine Callard and Craig Howell Donna and Larry James Marilyn Scanlan Larry and Ginny Christopherson Mary Jane Janki Jay and Joyce Schoedinger Barbara L. Chuko Rachel Janutis Lenore Schottenstein Lorrie Clark Corey and Amy Jeffries Devon and Michael Seal Kelli and Craig Clawson Kent and Sally Johnson Robert and Barbara Shapiro Sharon Kahn Cohodes Douglas N. and Darlene V. Jones Darrel and Teruko Sheets Richard and Lynn Colby Kirk Jones William and Eva Sheppard Fred and Tschera Connell Mary and Ken Keller Diane and Jim Slagle Joseph Cook Bernard and Margaret Kohler Douglas and Patricia Slusher Ron and Janice Cook Alexa Konstantinos Francis C. Smith Kristin and Mike Coughlin George and Linda Koukourakis Rich and Kristy Smith James R. Craft Roger and Barbara Kussow Ronald L. Smith Tammy and Robert Craig Joan and Wayman Lawrence Beatrice Sowald Robert and Mary Crumm Milt and Marcy Leeman State Highway Supply, Inc. Suzanne and Ken Culver Dr. Jane M. Leiby John and Sally Stefano Ruth Deacon Richard and Cheryl Leiss Sig and Mary Stephensen Dr. Joanne DeGroat Joanne Leussing Sadie and Seyman Stern Andrea and Christopher Dent Hailong Li and Shumei Meng Rebecca Stilson and Mike Sullivan Galina Dimitrov Larry and Becky Link Nancy Stohs and David Bush Nancy Donoghue Warren and Dai-Wei Lo Mark and Gail Storer Deanie M. Dorwart Steven and Victoria Loewengart Emily Strahm Paul and Anne Droste James and Clare Long Margie and Mike Sullivan The D’Souza Family Manfred and Rose Luttinger Peter, Andrew and Keren Sung Phyllis Duryee Zhenxu Ma David and Louise Swanson Nancy Edwards James MacDonald and Kit Yoon Thomas and Carol Swinehart Sue Ellen Eickelberg Sue and Ron Mayer Carolyn S. and William T. Tabor Richard and Helen Ellinger Troy and Nancy Maynard Barbara and Michael Taxier David and Ann Elliot George and Carolyn McConnaughey Brant and Mary Tedrow Gail Meyer Evans Carl P. McCoy Dolores Thomas Alice Faryna John and Patricia McDonald Tydvil Thomas Lawrence and Marion Fisher John and Pamela McManus Rachel Thurston and Steve Caudill Daniel and Koleen Foley Priscilla Meeks Edwin Tripp Danielle and Eric Fosler-Lussier David and Betty Meil Katherine Tucker Ed and Marti Foster Joyce Ann Merryman Don and Cheryl Tumblin Al Friedman John and Betty Messenger Tom and Martha Tykodi R. and M. Gahbauer Mark and Susan Meuser Jim and Jordy Ventresca Salvador and Susan Garcia Ruth and Fred Miller Lee and Anna Vescelius Mark Geary Melinda S. Miller Meta and Burkhard von Rabenau Hugh and Joyce Geary Steve and Coleen Miller Joan Wallick Martin and Dorothy Gelender Drs. Ali and Mina Mokhtari Richard and Jane Ward Mr. Thomas A. Gerke Michael and Michele Moran Catharine and Robert Warmbrod Jen and Bob Gervasi Scott and Gretchen Mote Brad and Julie Wasserstrom Martin Golubitsky and Barbara Keyfitz James and Laura Myers Donna and Rodney Wasserstrom Elaine and Victor Goodman Mrs. Peter Neckermann Mary and Thomas Weatherwax Clyde Gosnell and Louise Warner Robert Nichols David and Cindy Webber Mike and Harriet Hadra Brian Olah George Weckman Mark V. Haker Paul and Colette Peterson Ireena and Alan Weinberg Richard and Irene Hamilton Sara and Mason Pilcher Adam and Laura Weiser John and Jean Hank Paul and Barbara Poplis Marilyn P. Wenrick Larry Hayes Partners, LLC Gail and Katie Potter Cynthia M. Whitacre Judy and Duane Hays Susan Y. Prince Tim and Johanna White Ulrich and Christiane Heinz Charlotte A. Prior William and Ruth Whitehouse Clyde and Janet Henry Vicki and Steve Probst Marvin and Babette Whitman Marilyn Herel Margaret Real Teresa and Daniel Wiencek Dale and Gloria Heydlauff Mary and Rocky Robins Anne Jeffrey Wright Steven Hillyer Ken and Judy Rodgers Charlotte Yates

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All inBloom Flowers Flourish Bespoke Floral and Event Styling Rossen Milanov American Electric Power Franklin Park Conservatory Neil and Christine Mortine Arena District Athletic Club Dennis and Cindy Fuster Music and Arts Worthington BalletMet Giant Eagle Market District Orangetheory Fitness Lisa and Chris Barton Hamburg Fireworks Penzone Salons and Spas Big Burrito Restaurant Group Heartland Bank Pizzuti Collection Buckeye Bourbon House Hilton Columbus Downtown Cortney J. Porter CAPA Hotel LeVeque, Autograph Collection Pro Art Music, LLC Casper and Coal I’m Boxed In Pure Barre Catering by Design Jazz Arts Group Sheraton Columbus at Capitol Square CDDC/Capitol South Jet’s Pizza Jeff and Jeani Stahler Columbus Museum of Art John Gerlach and Company LLP Strings Music Festival Columbus Zoo and Aquarium Jeff Keyes Taste of Belgium COSI Lasting Impressions The Westin Columbus Crow Works Le Meridien Columbus, The Joseph Drs. Grant Wallace and Dempsey’s Food and Spirits Lemongrass Stephanie Davis Wallace Donatos Pizzeria LLC Local Cantina Dublin Wasserstrom Dublin Irish Festival Local Matters Wexner Center for the Arts Due Amici Market 65

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, 2017 and October 15, 2018. For questions about making a gift in honor or in memory of someone, please contact the development office at 614-221-5249.

IN HONOR Friends of the Columbus Symphony Jeani Stahler Lisa Barton Donna Cavell William and Carolyn Jacob Susan Tomasky and Ron Ungvarsky Ron Jenkins Rosa Stoltz Louis and Marilyn Burns Alexa Konstantinos Carol and Steve Handler Louis and Marilyn Burns Sheri VanCleef Mariana Szalaj Connie Cahill Rossen Milanov William and Carolyn Jacob Jeremy Kalef Marcia Katz Slotnick David Thomas Andrew Carr Barbara Nelson Jan Ryan Anonymous Deborah Cooper Don and Naomi Valentine Columbus Symphony Trombone Section Suzanne Newcomb Gary and Evelyn Kinzel Wayne and Cheri Rickert Ruth Whitehouse Jan Wade Columbus Symphony Youth Orchestra Charlie Seal Rob and Marti Rideout Adam and Laura Weiser Devon and Michael Seal Phil and Valerie Stichter

Brandi Daramola Barbara and Si Sokol Chad and Melinda Whittington William and Carolyn Jacob Carla Sokol Violet Whittington

Patti Eshman Peter Stafford Wilson Jody Williams Joanne Spoth Garrett and Sidney Dill Bill Hegarty Lawrence and Kathy Mead Terry L. Fairfield Jeff and Jeani Stahler Jiu Zhennan and Christopher Clerc Dr. Stephanie R. Davis Wallace Kim and Jude Swanson Edwin and Roberta Przybylowicz Dr. Stephanie Davis Wallace Kate Fornshell Jerry and Susan Woodruff Tori Raiken

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IN MEMORY Betty Lou Furash Elaine Lemeshow Ann Backe Marilyn Harris Stanley Lemeshow Anonymous Bo Gallo Robert E. Lindemann David M. and Marilyn G. Baumgartner Mrs. Rhoma Berlin Patricia Carpenter Ann Schnapp Dr. Michael O. Garraway Lenore Loewengart Betty Rae Bishoff Dr. Annie Marie Garraway Steven and Victoria Loewengart Margaret Watkins Allene N. Gilman Mary Long Dr. Bill Blair Allene N. Gilman Charitable Trust Richard Duesterhaus and Janet Blair Jude Mollenhauer Kay Graf BJ Friedery and Arnold Erickson Barbara Bradfute Mrs. Rhoma Berlin Jan Ryan Joyce Ann Merryman Garrett and Sidney Dill Jean and John White Friends of the Columbus Symphony Zamah Cunningham Barna J. Graves Mary Jean Loveday Patricia A. Cunningham and Michael and Diane Hockman Dr. Amos J. Loveday, Jr. Craig R. Hassler Sally Guzzetta Joan Lynne Weldon and Etta Mae Davis Kathleen Ort Don Lynne Terry Alan Davis Marvin Hamlisch Vivek Mahajan Greg Dillon Janet Blair Dr. Varun and Dr. Monica Mahajan Barbara Dillon Kasey Hansen Anne Melvin Evelyn Bice Erlanger Bryce C. Hansen Salvador and Susan Garcia Edgar Erlanger Ronald and Mary Hooker Donald Harris The Jeffrey Company William Ferguson Anonymous Mark, Seton and Anne Melvin Ken and Deb Behringer Justin and Jane Rogers Sara and John Donaldson Fanny A. Hassler Mrs. Norman T. Smith Nancy Jeffrey Patricia A. Cunningham and Sharon Tipton Anne and Bill Porter Craig R. Hassler Jan Wade Tom and Lynn Ryan Linda and Richard Sedgwick Bunny Hyatt Dolores Millat Craig and Maureen Shaver Garrett and Sidney Dill Wayne and Cheri Rickert Jeffrey and Megan Walker Friends of the Columbus Symphony Mrs. Barna J. Graves Robert Millat David Frost Andrew and Bette Millat Anonymous (3) Charles Hyatt Wayne and Cheri Rickert Andrew Carr Mrs. Rhoma Berlin Stephanie Rippe Jay and Joyce Fishman Garrett and Sidney Dill John and Sally Stefano Annette Molar Paul Josenhans Marilyn and Alan Levenson Donald and Jeannette Frost Annegreth T. Nill and Bruce C. Posey Barry Molar and Juliet Mellow Dale Masel and Roberto McClin Mary Lou Kable Sam and Jane Morris Joanne M. Frye Garrett and Sidney Dill Lisa Morris and Kent Shimeall Friends of the Columbus Symphony Friends of the Columbus Symphony Barna J. Graves Mrs. Barna J. Graves Marcella Murley Allen and Annie Hu Nancy Watkins Gary Fulmer Friends of the Columbus Symphony Janice M. Ladd Malinda K. Heineking

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Patricia Nichols William B. Shimp Mr. Gary Tirey Lori Beals Steve and Terry Sansbury George and Kimberly Hoessly Dorothy and Rod Beehner David and Susan Beyerle Margaret Sibbring Wendy Vogl-Old Jean Brandt Friends of the Columbus Symphony Christina Old The Choral Group of the American Association of University Women Edwin R. Six III Margaret Wall Friends of the Columbus Symphony H. J. Six Katherine Boehm Clyde Gosnell and Louise Warner Mary Louise Casanta Beverly and Eric Johnston Mary Jeannette Smith John and Rosina Hartig Ann Morgan Francis C. Smith Scott and Susanne Hirth Robert Nichols Marilyn Metzger Diane and Tony Piasecki Gene Standley Louise Swanson Ann Root Tom Battenberg and Helen Liebman Mary K. and Ray Wall James and Gloria Sherer John and Mary Fetters Mark and Joyce Koch Patrick J. Walsh Julie Ostrander Daria Arbogast Kay Hedges Robert Sprouse Stacey and Josh Ascher Janice T. Whittaker Oxley Family Loved Ones Joe and Becky Clark Nick and Lani Davakis Joseph and Margaret Oxley Laura and Baily Crockarell Helen and Harry Sutherland Richard Pettit Mickey Pheanis Stephen and Margaret Sutton Bonnie Wilson Columbus Symphony League Brent Welch Judy Ross Oscar L. and Rita C. Thomas Jennifer Tiell and Mark Adelsperger Anonymous George H. Wilson Kathy Snapp Nancy Ross Rachel Timmons Pat and Nancy Ross Barbara E. Goettler Leslie Ann Yovan Rosemary Joyce John and Diana Yovan Larry Rutherford Ellen Rose Dr. Robert Horvat

bravo NOVEMBER/DECEMBER 2018/JANUARY 2019 48 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) 221-5411.

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

For a complete listing of Legacy Society members, please visit our website at http://columbussymphony.com/support/individual-giving/cso-legacy-society/

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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) Judith Harris Hays Howard and Sandra Pritz American Electric Power Marilyn H. Harris Denise Rehg Pat and Ross Bridgman The Jeffrey Company Merry Ann L. Sauls Robert V. Byrd Douglas and Darlene Jones Robert and Ann Shelly CSO Musicians Outreach Fund of Patricia Karr George and Patricia Smith The Columbus Foundation Ken and Mary Keller Zuheir and Susan Sofia Jerome and Bette Dare Susan J. Mancini Alden* and Virginia* Stilson Garrett and Sidney Dill Mattlin Foundation Sheldon and Rebecca Taft Charles and Anne Driscoll Anne Melvin* David Thomas John and Francille Firebaugh Annette Molar* David H. Timmons The Rev. Earl and Pauline Fritz Gay Su Pinnell Craig D. and Connie Walley

For a complete listing of contributors to the Future. Inspired. endowment campaign, please visit our website at http://columbussymphony.com/support/endowment/

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Patrons with Disabilities: Refreshments are available in the Galbreath Pavilion The Columbus Symphony provides accommodations at the Ohio Theatre. Refreshments are available for persons with disabilities. For special seating in the lobby of the Southern Theatre and you are arrangements, please call the CAPA Ticket Center at welcome to take drinks into the concert hall. (614) 469-0939. Lost and Found: Concert Times: Call (614) 469-1045. Regular season Friday and Saturday concerts begin at 8 pm. Purchasing Tickets: Phone the CAPA Ticket Center at (614) 469-0939, 9 am to Latecomers and those who leave the hall once 5 pm weekdays and 10 am to 2 pm on Saturdays, to a performance has begun will be seated at the purchase tickets by credit card. Discover, MasterCard, discretion of the house manager during appropriate Visa, and American Express are accepted. Fax orders pauses. To assure that you are able to enjoy are accepted at (614) 224-7273. the entire concert, we suggest that if you are picking up tickets at Will Call or purchasing tickets, Purchase in person at the CAPA Ticket Center, plan to arrive at least 45 minutes prior to the start 39 E. State St., 9 am to 5 pm weekdays, 10 am of the concert. to 2 pm on Saturdays, and 2 hours prior to all Columbus Symphony performances. Please do not bring any packages, bags, or backpacks into the venue. Venue management Mail orders should be sent to the CAPA Ticket Center, reserves the right to search such items and to 39 E. State St., Columbus, Ohio 43215. refuse the entrance of such items into the venue. Thank you for your cooperation. Online orders can be made at www.columbussymphony.com. All ticket purchases are subject to a theatre Cameras and recording equipment may not be restoration fee. brought into the concert hall. Please turn your electronic watch, cellular phone, and pager to Group rates are available by calling (614) 719-6900. “off” or set it to “vibrate” prior to performances. Emergency Calls: Smoking is not permitted in the venue. 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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