A Message from the Chair of the Board of Trustees 5 2018-2019 Musician Roster 7 JANUARY 25-26 9 Beethoven Marathon: Joanna Plays Beethoven FEBRUARY 23 17 Hotel California: A Salute to the Eagles MARCH 1-2 21 Spanish Flamenco Festival: From Seville to the New World MARCH 15-16 29 Nordic Myths Festival: Grieg’s Piano Concerto MARCH 23 37 Jurassic Park In Concert Board of Trustees/Administration 45 Friends of the Columbus Symphony 46 Columbus Symphony League 47 Partners in Excellence 48 Corporate and Foundation Partners 48 Individual Partners 49 In Kind 52 Tribute Gifts 52 Legacy Society 55 Future Inspired 56 Concert Hall & Ticket Information 58

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 © 2019. All rights reserved. Printed in the U.S.A. bravo JANUARY/FEBRUARY/MARCH 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 end our busy January with Beethoven Marathon: Joanna Plays Beethoven (January 25 & 26, Ohio Theatre). Concertmaster Joanna Frankel makes her solo debut with the Columbus Symphony, performing Beethoven’s spiritual Violin Concerto. Rossen Milanov also conducts the epic “Eroica” Symphony to complete the program. Following that is a stage spectacle that faithfully and accurately reproduces the multi-Grammy Award-winning sounds of the Eagles. Hotel California: A Salute to the Eagles (February 23, Ohio Theatre) includes megahits like “Take it Easy,” “Heartache Tonight,” and “Hotel California.” After last year’s success, the Spanish Flamenco Festival returns with Griset Damas and the Flamenco Dance Company of Columbus. The Spanish Flamenco Festival: From Seville to the New World (March 1 & 2, Palace Theatre) comes to the newly-renovated Palace Theatre with John Axelrod, Music Director of the Royal Seville Symphony, conducting the Columbus Symphony. The program is inspired by adventure and enchantment, and concludes with Dvorˇák’s richly melodic New World Symphony. We continue with the Nordic Myths Festival: Grieg’s Piano Concerto (March 15 & 16, Ohio Theatre), which features Alessio Bax on piano in the beautiful concerto. Opening the concert is Wagner’s Celtic myth-inspired love story of Tristan and Isolde, and Finnish myths come to life in the expansive music of Sibelius, accompanied by original video art by Jason Gay. Our Pops series continues with one of the biggest movie franchises of all time, Jurassic Park in Concert (March 23, Ohio Theatre). The 25th anniversary of the movie features the visually stunning imagery and groundbreaking special effects in this action-packed adventure. Experience Jurassic Park like never before as it is projected in HD with the full Columbus Symphony playing John Williams’ iconic score live to picture. 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

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Rossen Milanov, Music Director Andrés Lopera, Assistant Conductor Ronald J. Jenkins, Chorus Director VIOLINS Christina Saetti ENGLISH HORN TUBA Joanna Frankel Ann Schnapp Robert Royse James Akins Concertmaster Steven Wedell Principal Jack and Joan George Chair CLARINETS Leonid Polonsky VIOLONCELLOS David Thomas TIMPANI Associate Concertmaster Luis Biava Principal Benjamin Ramirez David Niwa Principal Rhoma Berlin Chair Principal Assistant Concertmaster Andy and Sandy Ross Chair Mark Kleine American Electric Power Alicia Hui Wendy Morton Paul Bambach Foundation Chair Principal Second Assistant Principal Martin and Sue Inglis Chair Gay Su Pinnell Chair BASS CLARINET PERCUSSION Rhonda Frascotti **Marjorie Chan Philip Shipley Assistant Principal Second William Denza Principal Mary Jean Petrucci Pei-An Chao Mary Davis Jack Jenny **Mikhail Baranovsky SAXOPHONE Brian Kushmaul Michael Buccicone Victor Firlie Michael Cox Tom Guth Cameron Leach Leah Goor Burtnett William Lutz Amber Dimoff Mark Kosmala BASSOONS David Edge Sabrina Lackey Betsy Sturdevant Jeffrey Singler Principal HARP Robert Firdman Sheldon and Rebecca Taft Chair Rachel Miller Joyce Fishman Douglas Fisher Symphony League Chair BASSES Jeanne Norton Erin Gilliland Rudy Albach Cynthia Cioffari Kirstin Greenlaw Principal Gyusun Han Nationwide Chair CONTRABASSOON PIANO/CELESTE Tatiana V. Hanna John Pellegrino Cynthia Cioffari Caroline Hong Rachel Huch Assistant Principal Reinberger Foundation Chair ** James Faulkner Heather Kufchak HORNS KEYBOARDS William Manley Russell Gill Brian Mangrum Jena Huebner Principal Suzanne Newcomb Aurelian Oprea Mariko Kaneda Gail Norine Sharp Jean-Etienne Lederer Julia Rose Ariane Sletner Jon Pascolini Associate Principal Adam Koch ORGAN Zoran Stoyanovich James Hildreth Anna Svirsky FLUTES Colin Bianchi Elaine Swinney Niles Watson Amy Lassiter Principal Kimberly McCann * Indicates musician David Tanner Nationwide Chair on leave during the Jonquil Thoms Megan Shusta Heidi Ruby-Kushious Charles Waddell 2018–2019 Season Olev Viro *Genevieve Stefiuk ** Begins the Manami White Janet van Graas TRUMPETS Lori Akins alphabetical listing VIOLAS Daniel Taubenheim of players who Jeffrey Korak Karl Pedersen PICCOLO Lisa and Chris Barton Chair participate in a Principal Janet van Graas Brian Buerkle system of rotated Gay Su Pinnell Chair seating within the Brett Allen Lori Akins Tom Battenberg Assistant Principal string section. **Leslie Dragan OBOES TROMBONES Dee Dee Fancher *Stephen Secan Andrew Millat KEYBOARD Mary Ann Farrington Principal Principal TECHNICIAN Nathan Mills Richard Howenstine Doug Brandt Yu Gan Assistant Principal Kenichiro Matsuda Robert Royse Patrick Miller BASS TROMBONE LIBRARIANS Jessica Smithorn Joseph Duchi Jean-Etienne Lederer Chris Saetti Principal Librarian Elizabeth Graiser 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 JANUARY/FEBRUARY/MARCH 2019 7 bravo JANUARY/FEBRUARY/MARCH 2019 8 FRIDAY, JANUARY 25, 2019, 8:00 P.M. SATURDAY, JANUARY 26, 2019, 8:00 P.M. BEETHOVEN MARATHON: JOANNA PLAYS BEETHOVEN THE OHIO THEATRE Columbus Symphony Masterworks Series Rossen Milanov, conductor Joanna Frankel, violin • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • LUDWIG VAN BEETHOVEN Concerto in D major for Violin and Orchestra, Op. 61 I. Allegro ma non troppo II. Larghetto III. Rondo: Allegro Joanna Frankel, violin INTERMISSION LUDWIG VAN BEETHOVEN Symphony No. 3 in E-flat major, Op. 55 (“Eroica”) I. Allegro con brio II. Marcia funebre: Adagio assai III. Scherzo: Allegro vivace IV. Finale: Allegro molto

THIS CONCERT IS DEDICATED IN MEMORY OF ERNEST AND AURELIA STERN.

ADDITIONAL SUPPORT PROVIDED BY

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

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mentors have included Jascha Brodsky, CJ Chang, Robert Chen, Masao Kawasaki, Cho-Liang Lin, and Joseph Kalichstein. Ms. Frankel’s post-graduate work continued at Carnegie Hall, where she entered the inaugural class of “The Academy,” a groundbreaking initiative that trains ambitious young musicians to be 21st century arts leaders. Her concerto and recital appearances have included engagements across the U.S., and in The Netherlands, Russia, Czech Republic, Estonia, Slovakia, Finland, The Middle East, Zimbabwe, and South Africa. Her festival appearances include Marlboro Music Festival, Harare International Festival of the Arts, Johannesburg Mozart Festival, Festspiele Mecklenburg-Vorpommern, Centro Cultural Violinist Joanna Frankel joined the Columbus Internacional Óscar Niemeyer, La Jolla’s SummerFest, Symphony on appointment as concertmaster in Santa Fe New Music, The Aspen Music Festival and September of 2016 for the 2016/17 season. She Spoleto Festival USA. From 2013-2016, Ms. Frankel officially assumed the role of concertmaster for the served as first concertmaster of The KwaZulu-Natal start of the 2017/18 season. Born in Philadelphia in Philharmonic in Durban, South Africa, and first 1982, Ms. Frankel began studying the violin at age 3 violinist of the KwaZulu-Natal Philharmonic Principal with The Suzuki Method. She trained in New York at String Quartet. She performs on a Gaetano Vinaccia The Juilliard School and received the prestigious violin, crafted in Naples in 1819. ‘William Schuman Prize’ upon graduation; her

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Violin Concerto in D major, Op. 61 (1806) as playing pieces on “reversed violin” (the instrument by Ludwig van Beethoven held upside down), something he did the very (Bonn, 1770 - Vienna, 1827) same night he premiered the Beethoven. Yet by all accounts he was an excellent musician, widely Two years after moving from Bonn to Vienna, the praised for the gracefulness and tenderness of his 24-year-old Beethoven met a violin prodigy ten playing, as well as for his extraordinary technical years his junior named Franz Clement. The boy had skills. Although his fame was eventually to decline already toured much of Europe, performed in London and he died in poverty in 1842, in 1806 he was under Haydn, and earned the admiration of many certainly at the height of his powers. important musicians on the continent. He carried with him an album that was signed by many of the One wonders what this not insignificant artist aristocrats, musicians, and officials he had met thought when he first saw the manuscript of during his travels. Beethoven, a former child prodigy Beethoven’s Violin Concerto with the punning himself, made his entry in Clement’s album: inscription “Concerto par Clemenza pour Clement primo Violino e direttore al theatro a Vienna.” Was it Dear Clement, really on the day of the first performance? As best as we can know 212 years later, the work was not Proceed along the path which you have hitherto finished until the last possible moment and Clement trodden so splendidly and so gloriously. Nature sight-read it at the concert (which, by the way, also and art vie in making you one of the greatest included a performance of the “Eroica” Symphony artists. Follow both, and you need not fear that you led by Beethoven). We will never know how the will fail to reach the great—the greatest goal on concerto sounded under the circumstances, and that earth to which the artist can attain. Be happy, my may even be a good thing. The critics, at any rate, dear young friend, and come back soon, so that gave mixed reviews. As one of them wrote: I may hear again your delightful, splendid playing. The judgment of connoisseurs is unanimous; the Wholly your friend many beauties of the piece must be conceded, but L. v. Beethoven (in the service of it must also be admitted that the continuity is often His Excellency the Elector of Cologne) completely broken and that the endless repetitions of certain commonplace passages might easily Clement later went on to become the conductor of become tedious to the listener....It is to be feared the Theater an der Wien in Vienna. His musical that if Beethoven continues upon this path he and memory was legendary and gave rise to many the public will fare badly. fantastic stories. According to one of them, he once prepared a piano score of Haydn’s Creation One thing that may have helped Clement find his after hearing it performed several times, with only way through the new work is that at least certain a libretto, no full score, to help him. He was always passages must have been somewhat familiar. a great champion of Beethoven’s music: he was Clement (himself a composer) had written his own involved in the production of the original Fidelio in violin concerto (also in D major), which was premiered the autumn of 1805 and was the concertmaster about a year and a half before the Beethoven. In at the first public performance of the Third Symphony his 1998 study of the Beethoven Violin Concerto, in the same year. Robin Stowell examined this entirely forgotten work and found that some of the passagework in the It seems, then, that Clement was not as unworthy of Beethoven Concerto is closely modelled on Clement’s Beethoven’s Violin Concerto as some people later piece. This shows that Beethoven went to great thought. He may not have been above such stunts lengths to accommodate his friend’s playing style,

bravo JANUARY/FEBRUARY/MARCH 2019 12 PROGRAM NOTES using some of Clement’s favorite playing techniques, In the end, though, Beethoven’s concerto is a and showing him, in the process, how much more masterpiece sui generis: the borrowed details could be gotten out of those techniques. were inserted into a completely new context. The work radiates a kind of Olympian serenity that only The new concerto went unappreciated for a long Beethoven was capable of creating, and the same time, despite the fact that the composer and pianist is true of the occasional dramatic outbursts that Muzio Clementi persuaded Beethoven to arrange it temporarily cloud the happy atmosphere. as a piano concerto, which Beethoven did. Although the concerto is too violinistic to work well on the On the whole, the Violin Concerto is one of the piano, Clementi would hardly have proposed such happiest works Beethoven ever wrote. The first, an arrangement, had it not made some business dream-like entry of the solo violin, evolving into a sense to him. But there were apparently no mini-cadenza after the orchestral exposition, is a performances of the piano version during Beethoven’s case in point. So is the beautiful second theme, lifetime, and only a few not very successful ones of presented both in the major and in the minor the original. The longest and probably the most modes. This theme seems to be reserved entirely difficult violin concerto written to date, it was for the orchestra, and the solo violin never gets to awaiting the exceptional artist who could uncover play it in full until the very end, after the cadenza. all its beauties. Then, at last, the soloist makes the most of this delightful melody and takes it from the lowest It was the 13-year-old Joseph Joachim who finally register of the instrument to the highest. The simple brought the work to triumph at a concert given in and song-like style of performance is gradually London under Mendelssohn (1844). Since then, the altered by the addition of virtuoso scales and world has never tired of the composition, which soon passages, and the volume rises to a powerful became known as the “Queen of Violin Concertos.” fortissimo to close the movement.

Clement’s violin concerto was by no means The second-movement Larghetto is in G major Beethoven’s only model. He was also influenced and never leaves its home tonality, a quite unusual by the composers of the French violin school. This circumstance that explains the exceptional restfulness school, founded by the Italian-born Giovanni Battista that pervades the movement. It is a set of free Viotti (1755-1824), was continued by virtuosos variations on a quiet, meditative theme. At the end, such as Rodolphe Kreutzer (1766-1831) and Pierre there is a bridge leading into the third-movement Rode (1774-1830). These violinist-composers were Rondo, which follows without a pause. the first to establish the violin concerto as a major concert genre, on a par with symphonies. Their An old Viennese tradition ascribed the first theme of brilliant and dignified works abound in attractive the Rondo to Franz Clement. Whether or not that is melodies, and often contain march-like themes that true, the melody provides a splendid starting point sometimes give them a downright military character. for a light-hearted and vivacious movement, whose Beethoven was personally acquainted with Kreutzer cheerful dance rhythms (in 6/8 time) continue a and Rode; he dedicated his Violin Sonata Op. 47 time-honored classical Rondo tradition while to the former, and wrote the Sonata Op. 96 for the introducing many individual touches in the latter. Certain passages that don’t originate with elaboration of the model. The central episode in G Clement have close parallels in the French composers’ minor, in which the solo violin engages in a dialogue works. The borrowings or near-borrowings occur with the solo bassoon, is especially haunting. The mostly, if not exclusively, in sections with virtuoso ending of the movement is a typical Beethovenian passagework, an area where the pianist Beethoven joke: a pianissimo recapitulation of the theme is evidently did not have the practical experience the interrupted by two fortissimo chords, and the work violinist composers had. is suddenly over.

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Symphony No. 3 in E-flat major, they take on an entirely new meaning. They become Op. 55 (1802-04) elements of a drama of unprecedented intensity. by Beethoven The themes are shorter than in most earlier symphonies and are more open-ended, lending Beethoven’s Third Symphony represents a quantum themselves particularly well to modifications of leap within the composer’s oeuvre, as it does in various sorts. It is by transforming, dismembering the history of music in general. The sheer size of and reintegrating his motifs that Beethoven expresses the work—almost twice the length of the average the idea of struggle that is so unmistakably present 18th-century symphony—was a novelty, to say throughout this movement. nothing of what amounted to a true revolution in musical technique and, even more importantly, in The second movement bears the title Marcia funebre musical expression. (“Funeral March”). The music begins softly and rises to a powerful, dramatic climax. After some extensive The story about the symphony’s torn-up dedication contrapuntal development in the middle of the to Bonaparte is well known. Beethoven had been movement, the main theme’s final return is interrupted sympathetic to the French Revolution, which broke by rests after every three or four notes, as if the out when he was 19. Like many intellectuals of his violins were so overcome by grief that they could time, he was fascinated by the reforms Napoleon barely play the melody. had introduced as First Consul. At the same time, he despised tyranny in all its forms, and regarded In the third and fourth movements, Beethoven Napoleon’s coronation as Emperor a betrayal of managed to ease the feeling of tragedy without the revolution. It was at that point that Beethoven letting the tension subside. The third-movement renamed the work Sinfonia Eroica composta per Scherzo begins with two notes repeated in an festeggiare il sovvenire di un grande Uomo (“Heroic undertone that evolve into a theme only gradually. Symphony, Composed to celebrate the memory of In the somewhat more relaxed Trio, the three horns a great man”). take center stage.

But the Third Symphony does more than express The main theme of the last movement appears in the composer’s response to historical events. It no fewer than four of Beethoven’s compositions. also bears witness to the composer’s personal We first hear it in a simple contra-dance for struggles (it was around this time that his hearing orchestra, then in the last movement of the ballet began strongly to deteriorate). After much turmoil in The Creatures of Prometheus (both in 1800-01), the first three movements, these struggles (to keep followed by the Variations for Piano, Op. 35 on living and working despite the greatest tragedy (1802), and lastly, in the Third Symphony. The that could befall a musician) end in triumph in the elaborate set of variations in the “Eroica” finale last movement. are integrated into a single, continuous musical form. There is a minor-key variation with a distinct The opening Allegro con brio is Beethoven’s longest Hungarian flavor, and another one that turns the symphony movement, aside from the finale of the contra-dance theme into a slow aria. An enormous Ninth. In it, some of the basic procedures of classical crescendo leads to the short Presto section that sonata form (presentation and transformation of ends the symphony. themes; traversal of various keys before a return to the initial tonality) are carried to a point where Notes by Peter Laki

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Stuart Chafetz, conductor • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Program announced from stage

ADDITIONAL SUPPORT PROVIDED BY

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John Denver, Marvin Hamlisch, Thomas Hampson, Wynonna Judd, Jim Nabors, Randy Newman, Jon Kimura Parker and Bernadette Peters.

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- Stuart Chafetz is the newly appointed Principal Pops renowned Jacobs School of Music at Indiana University. Conductor of the Columbus Symphony. Chafetz, a conductor celebrated for his dynamic and engaging In the summers, Chafetz spends his time at the podium presence, is increasingly in demand with Chautauqua Institution, where he conducts the orchestras across the continent and this season annual Fourth of July and Opera Pops concerts with Chafetz will be on the podium in Seattle, Detroit, the Chautauqua Symphony Orchestra in addition to Naples, Phoenix, Cincinnati, Milwaukee, Vancouver his role as that orchestra’s timpanist. and many more. When not on the podium, Chafetz makes his home He’s had the privilege to work with renowned near San Francisco, CA, with his wife Ann Krinitsky. artists such as Chris Botti, 2 Cellos, Michael Bolton, Chafetz holds a bachelor’s degree in music America, Roberta Flack, George Benson, Richard performance from the College-Conservatory of Music Chamberlain, The Chieftains, Jennifer Holliday, at the University of Cincinnati and a master’s from the Eastman School of Music.

bravo JANUARY/FEBRUARY/MARCH 2019 18 bravo JANUARY/FEBRUARY/MARCH 2019 19 bravo JANUARY/FEBRUARY/MARCH 2019 20 FRIDAY, MARCH 1, 2019, 8:00 P.M. SATURDAY, MARCH 2, 2019, 8:00 P.M. SPANISH FLAMENCO FESTIVAL: FROM SEVILLE TO THE NEW WORLD PALACE THEATRE Columbus Symphony Masterworks Series John Axelrod, conductor Griset Damas, flamenco dancer Flamenco Dance Company of Columbus • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • JOAQUIN TURINA Danzas fantásticas, Op. 22 I. Exaltación II. Ensueño III. Orgía

MANUEL ALEJANDRO Bulerians: Se nos rompió el Amor Traditional Tangos de Málaga Griset Damas, flamenco dancer Flamenco Dance Company of Columbus

MANUEL DE FALLA Spanish Dance No. 1 from La Vida Breve Griset Damas, flamenco dancer INTERMISSION ANTONÍN DVOˇRÁK Symphony No. 9 in E minor, Op. 95, “From the New World” I. Adagio - Allegro molto II. Largo III. Molto vivace IV. Allegro con fuoco

ADDITIONAL SUPPORT PROVIDED BY

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Since 2001, Mr. Axelrod has conducted over 165 orchestras around the world, 35 operas, and 60 world premieres. Among his long-term relationships with European orchestras are Berlin’s RSB, NDR Symphony Hamburg, Düsseldorf Symphoniker, hr- Sinfonieorchester Frankfurt, Orchestra Sinfonica della RAI Torino, Filarmonica del Teatro alla Scala, Teatro La Fenice Orchestra in Venice, Orchestra del Maggio Musicale Fiorentino, The Netherlands Philharmonic, Orchestre de Paris, and the Mariinsky Orchestra. In Japan, Mr. Axelrod regularly conducts the NHK and Kyoto Symphony Orchestras. In the USA, Mr. Axelrod has performed with the Chicago Symphony, Los Angeles Philharmonic, and the Philadelphia With an extraordinarily diverse repertoire, innovative Orchestra, among others. Maestro Axelrod recently programming and charismatic performance style, debuted to great acclaim with the Bavarian Radio John Axelrod is widely recognized as one of today’s Symphony Orchestra. leading conductors, and is sought after by orchestras throughout the world. Mr. Axelrod has recorded core and contemporary repertoire for Sony Classical, Warner Classics, Ondine, In 2014, Maestro Axelrod became the new Artistic and Universal, Naïve, and Nimbus. His most recent release Musical Director of the Real Orquesta Sinfónica de is a cycle of Brahms Symphonies combined with Clara Sevilla (ROSS). Other positions include Principal Guest Schumann lieder, entitled Brahms Beloved, on Telarc. Conductor of Orchestra Sinfonica di Milano “Giuseppe” Mr. Axelrod graduated in 1988 from Harvard University. Verdi (LaVerdi), Music Director of the l’Orchestre Trained personally by Leonard Bernstein in 1982, he National des Pays de la Loire, Music Director and also studied at the St. Petersburg Conservatory with Chief Conductor of the Lucerne Symphony Orchestra Ilya Musin in 1996. and Theater, and Music Director of “Hollywood in Vienna” from 2009-2011, with the ORF Vienna Radio Orchestra.

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and professional company performances. In Colombia, she taught flamenco to around 3,500 students over 17 years, and created more than 10 flamenco dance shows.

In 2014, she moved with her family to Columbus, and started working with Flamenco del Corazon, then known as Flamenco Dance Columbus. She has performed in many events and dance festivals, including the Ohio Dance Festival on 2015 and 2016. She has been also taught in Ohio studios and schools, including Hattaway Brown (Cleveland), Dublin Dance Center and Gymnastics, BalletMet Columbus, Columbus Academy, Columbus Spanish Immersion Griset Damas was born in Havana, Cuba. She studied School, and New Albany Ballet. ballet at National Institute of Art of La Habana, focusing on flamenco and Spanish classic ballet, and reaching In 2016, she opened U Will Dance Studio in Plain the position of soloist in the Spanish Ballet of Cuba. City, Ohio, with the objective to offer a more complete In 1998, she moved to Bogota, Colombia, serving as dance education project, including ballet and director and choreographer of her own studio recitals stretching, as well as flamenco studies, for children, teens and adults.

FLAMENCO DANCE COMPANY OF COLUMBUS

Flamenco Company of Columbus of Music and Associate Professor at Otterbein Cantaora: Dolores Ramírez University, to join them in the study and development Guitarrista : Karl Wohlwend of this world-renowned genre, recently declared in Percusionista: Michael Yonchak 2010 as one of the Masterpieces of the Oral and Bailaora: Griset Damas Intangible Heritage of Humanity.

Flamenco Company of Columbus is the only group As time passes, Flamenco Dance Columbus continues dedicated to performing Flamenco music and dance to mature musically, and performing at venues in the state of Ohio, founded in 2015 by acclaimed throughout the state of Ohio. In 2017, Maria Dolores flamenco dancer Griset Damas-Roche and guitarist Ramirez, a singer from Seville, Spain, joined the Karl Wohlwend, Doctorate of Music and Associate company. Her voice adds the final, yet important, Professor at Otterbein University. In 2016, Griset and component of flamenco music, “cante.” Karl invited percussionist Michael Yonchak, Doctorate

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Danzas fantásticas, Op. 22 (1919) The Danzas fantásticas were originally written for by Joaquín Turina piano and subsequently orchestrated by Turina. The (Seville, Spain, 1882 – Madrid, 1949) orchestral version was performed first, in February 1920. The composer himself introduced the solo An illustrious member of the Spanish nationalist piano version later in the same year. school, Joaquín Turina was a respected teacher, pianist, and conductor who occupied a central position in the musical life of his country for many Spanish Dance from La vida breve years. Almost all his works contain allusions to Spain (1904-05) or more specifically to Andalusia. In the three Danzas by Manuel de Falla fantásticas—originally for piano, later orchestrated— (Cádiz, Spain, 1876 – Alta Gracia, Argentina, 1946) he followed the lead of his mentor Manuel de Falla, who in his Seven Spanish Folksongs (1914-15) It was Manuel de Falla’s great ambition to marry brought together several regions of Spain in a the flamenco music of his native Andalusia to the colorful musical bouquet. Turina’s dances likewise European operatic tradition, and to bring the Gypsies proceed from Aragon and Basque country in the of Granada’s old Albaicín district to the lyric stage. In north to Andalusia in the south, letting Turina’s own the famous Anvil Chorus from Il Trovatore, Verdi had native province have the last word. shown Gypsy blacksmiths at work, but in La vida breve, hitting the anvil with the hammer becomes In the score, each movement is preceded by a quote a metaphor for life itself: “Woe to those who were from the short novel La orgía by José Más, a writer born to be the anvil and not the hammer!” Similarly, from Seville (1885-1941). It is a story of passion Bizet had put on the operatic stage a Spanish Gypsy and violence set in the Andalusian city, but the girl who lives and dies for love, but Falla’s Salud—a sentences Turina quoted are poetic images rather true anti-Carmen—loves only once and when she is than elements in the plot: betrayed, she exposes the infamy of her unfaithful lover before collapsing lifelessly on the ground… I. Exaltación (“Exaltation”). It seemed as though the figures in that incomparable picture were moving Falla was 28 years old when he composed the first inside the calyx of a flower. version of the one-act opera; La vida breve (“The Brief Life”). It was the first major work of a composer II. Ensueño (“Reverie”). The guitar’s strings sounded the who would go on to produce such masterworks as lament of a soul helpless under the weight of bitterness. El amor brujo (“Love, the Magician”), El sombrero de tres picos (“The Three-cornered Hat”) and III. Orgía (“Orgy”). The perfume of the flowers merged El retablo de maese Pedro (“Master Peter’s Puppet with the odor of manzanilla, and from the bottom Show”). The libretto of La vida breve was written by of raised glasses, full of the incomparable wine, like Spanish poet Carlos Fernández Shaw (1865-1911), an incense, rose joy. also a native of Andalusia. Composer and lyricist were both inspired by the folklore of their birthplace, and The three movements produce a regular fast- enlivened their relatively simple plot with extensive slow-fast sequence, with the middle movement, a song and dance numbers where the action practically Basque zortziko, in the asymmetrical 5/8 meter comes to a standstill. The most famous Spanish dance of that dance. Sudden interruptions and tempo from the opera is performed just before the tragic changes make the dance sequence more dramatic, ending, as if to delay the inevitable. suggesting some imaginary stage action. The wholly unexpected cello solo immediately before the end is particularly effective.

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Symphony No. 9 in E minor, Op. 95 inscription on the last page of the manuscript: (“From the New World,” 1893) “Praise God! Completed 24th May 1893 at 9 by Antonín Dvoˇrák o’clock in the morning. The children have arrived (Nelahozeves, Bohemia, 1841 - Prague, 1904) at Southampton (a cable came at 1:33 p.m.).” The four children Dvoˇrák had left behind joined their The credit for bringing Dvoˇrák to the United States parents in New York a few days later. Thus, both belongs to Jeanette M. Thurber (1850-1946), wife the beginning and the end of this symphony’s of a wealthy New York businessman. Mrs. Thurber composition seem to be connected with ships was one of those dedicated philanthropists to leaving and arriving. whom the musical life of this country has always owed so much. In 1885-86, she founded both the Much ink has been spilled over the question as to National Conservatory of Music and the American whether the E-minor Symphony incorporates any Opera Company. One of her greatest achievements melodies Dvoˇrák heard in the United States, and was a scholarship program for minority students, whether the symphony is “American” or “Czech” in which enabled many black and Native American character. Dvoˇrák’s interest in both Negro spirituals students to become professional musicians. Another and American Indian music was evident, but he was to persuade Antonín Dvoˇrák to come to the actually knew very little about the latter and, as United States from his native Bohemia and become far as the former was concerned, relied mainly on the director of the Conservatory. a single source of information. Harry T. Burleigh, an African-American student at the Conservatory, After a long round of negotiations, Dvoˇrák arrived who later became a noted composer and singer, in the United States in 1892, for what would be a performed some spirituals (and also Stephen Foster stay of three years. He was accompanied by his songs) for Dvoˇrák, who was very impressed but his wife, two of his six children, and a secretary. His knowledge of American musical traditions must have duties at the Conservatory were not very onerous. remained limited. The composer did not claim to He had to teach composition three mornings a have used any original melodies, trying instead to week and conduct the student orchestra on two “reproduce their spirit,” as he put it in an interview afternoons. This schedule left him enough time for published three days before the symphony’s premiere. conducting at public concerts as well as composing. We will understand what Dvoˇrák meant by this if Mrs. Thurber later claimed it was at her suggestion we compare the famous English horn solo from the that Dvoˇrák first started to work on his Symphony in symphony’s slow movement with the spiritual “Steal E minor. As she recollected, Away,” which was probably among the songs Dvoˇrák had heard from Burleigh. Many years later, music He used to be particularly homesick on steamer critic H. C. Colles, interviewing Burleigh, asked him days when he read the shipping news in the to sing the songs he had sung to Dvoˇrák, and noted Herald. Thoughts of home often moved him to that “the sound of the English horn resembled quite tears. On one of these days I suggested that he closely the quality of Burleigh’s voice.” Both melodies write a symphony embodying his experiences share the same rhythmic patterns and the same and feelings in America—a suggestion which he pentatonic scale. It is no wonder that Dvoˇrák’s promptly adopted. melody was subsequently adopted as a spiritual in its own right under the title “Goin’ Home,” with This prompting would hardly have sufficed, had words by one of Dvorák’s New York students, William Dvoˇrák himself not felt ready to “embark” on a new Arms Fisher. Several other melodies in the symphony symphony. But embark he did, and when the score have similar songlike shapes, suggesting folk was finished the next spring, he made the following inspiration. One instance where a possible model

bravo JANUARY/FEBRUARY/MARCH 2019 25 PROGRAM NOTES has been identified is the first movement’s second in organizing his melodies into coherent and well- theme, which is strongly reminiscent of the spiritual balanced musical structures. “Swing Low, Sweet Chariot.” The opening horn theme of the first-movement Another link between the “New World” Symphony Allegro molto, already hinted at the preceding slow and the New World has to do with an aborted opera introduction, serves as a unifying gesture that project based on The Song of Hiawatha. It was returns in each of the symphony’s movements. In another one of Mrs. Thurber’s suggestions that the second-movement Largo, it appears at the Dvoˇrák write an opera on Longfellow’s poem, with climactic point in the faster middle section, shortly which he had long been familiar, having read it in before the return of the English horn solo. In the Czech translation 30 years before. The opera never Scherzo, it is heard between the Scherzo proper quite got off the ground, but there is evidence and the Trio; this time, the energetic brass theme that the slow movement was conceived with is transformed into a lyrical melody played by the Minnehaha’s Forest Funeral from Hiawatha in mind. cellos and the violas. Between the trio and the Additionally, the Scherzo was inspired by the dance recapitulation of the Scherzo, the theme resumes of Pau-Puk-Keewis. its original character. The same melody can also be found in the finale shortly before the end, in a Discussions of the ethnic background of Dvoˇrák’s coda that incorporates quotations from the second themes should not, however, divert the attention and third movements as well. The ending of the from other aspects of this symphony that are at least symphony, then, combines the main themes from equally compelling. For beautiful melodies alone, all four movements in a magnificent synthesis. whatever their provenance may be, do not a symphony make. In his Ninth, Dvoˇrák proved not Notes by Peter Laki only his supreme melodic gifts, but also his mastery

bravo JANUARY/FEBRUARY/MARCH 2019 26 bravo JANUARY/FEBRUARY/MARCH 2019 27 bravo JANUARY/FEBRUARY/MARCH 2019 28 FRIDAY, MARCH 15, 2019, 8:00 P.M. SATURDAY, MARCH 16, 2019, 8:00 P.M. NORDIC MYTHS FESTIVAL: GRIEG’S PIANO CONCERTO OHIO THEATRE Columbus Symphony Masterworks Series Rossen Milanov, conductor Alessio Bax, piano Jason Gay, video artist • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • RICHARD WAGNER Prelude and “Liebestod” from Tristan und Isolde EDVARD GRIEG Concerto in A minor for Piano and Orchestra, Op. 16 I. Allegro molto moderato II. Adagio III. Allegro moderato molto e marcato Alessio Bax, piano INTERMISSION JEAN SIBELIUS Lemminkäinen Suite (Four Legends from the Kalevala), Op. 22 I. Lemminkäinen and the Maidens of the Island II. Lemminkäinen in Tuonela III. The Swan of Tuonela IV. Lemminkäinen’s Return

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bravo JANUARY/FEBRUARY/MARCH 2019 29 ALESSIO BAX, pianist

Highlights of recent seasons include duo recital tours with Joshua Bell and Emmanuel Pahud; solo recitals at London’s Wigmore Hall and the Leeds Piano Festival; performances with the Minnesota Orchestra, North Carolina Philharmonic, Armenian Philharmonic London’s Southbank Sinfonia, Minnesota Orchestra, Dallas Symphony, Colorado Symphony; and concerts at L.A.’s Disney Hall, the Kennedy Center, and Carnegie Hall. In 2009, Bax was awarded an Avery Fisher Career Grant, and in 2013 he received both the Andrew Wolf Chamber Music Award and Lincoln Center’s Martin E. Segal Award, which recognizes young artists of exceptional accomplishment. Photo: Lisa Marie Mazzucco ​ Combining exceptional lyricism and insight with A staple on the international summer festival consummate technique, Alessio Bax is without a circuit, Bax has performed at the Verbier Festival in doubt “among the most remarkable young pianists Switzerland; England’s International Piano Series now before the public” (Gramophone). He catapulted and Aldeburgh and Bath festivals; the Risør Festival to prominence with First Prize wins at both the Leeds in Norway; and the Moritzburg Festival, Ruhr Klavier- and Hamamatsu International Piano Competitions, Festival, and Beethovenfest Bonn in Germany. In the and is now a familiar face on four continents, not U.S., he makes regular appearances at New York’s only as a recitalist and chamber musician, but as a Bard Music Festival, the Great Lakes Chamber Music concerto soloist who has appeared with more than Festival, the Bravo! Vail festival, Mimir Chamber 100 orchestras, including the London and Royal Music Festival, Minnesota’s Beethoven Festival, Philharmonic Orchestras, Dallas and Cincinnati Seattle Chamber Music Festival, Music@Menlo, Symphonies, NHK Symphony in Japan, St. Petersburg Bridgehampton Chamber Music Festival, and Santa Philharmonic with Yuri Temirkanov, and the City of Fe Chamber Music Festival. He has given recitals at Birmingham Symphony with Sir Simon Rattle. New York’s Lincoln Center and other major music halls around the world, including those of Rome, This season includes his Boston Symphony Orchestra Milan, Bilbao, Madrid, Paris, London, Tel Aviv, Tokyo, debut and a spring tour of Australia and New Zealand, Seoul, Hong Kong, Buenos Aires, Mexico City, and including his debuts with the Melbourne Symphony, Washington, DC. As a chamber musician, Bax has Sydney Symphony, and Auckland Philharmonia. His collaborated with Emanuel Ax, Sol Gabetta, Steven international lineup also includes concerts in Israel Isserlis, Nicholas Phan, Paul Watkins, Jörg Widmann, and a Japanese tour featuring dates with the Tokyo and the Emerson String Quartet, among many others. Symphony, solo recitals, and chamber music at Le Pont International Festival in Ako and Himeji. Back in Bax’s discography includes Beethoven’s the U.S., he performs with the Fort Worth Symphony “Hammerklavier” and “Moonlight” Sonatas, Bax & and Kansas Symphony, and rejoins the Chamber Music Chung with Lucille Chung, Alessio Bax Plays Mozart Society of Lincoln Center for a Hungarian-themed with London’s Southbank Sinfonia and Simon Over, program and season-closing concert. He rounds out Alessio Bax: Scriabin & Mussorgsky, Alessio Bax the season with a full summer of festivals, highlighted plays Brahms, Bach Transcribed, and Rachmaninov: by his debut at France’s International Chamber Music Preludes & Melodies, all for Signum Classics; as Festival of Salon-de-Provence, and returns to the well as Baroque Reflections, for Warner Classics. He Great Lakes Music Festival, Saratoga Chamber Music performed Beethoven’s “Hammerklavier” Sonata for Festival, and Tuscany’s Incontri in Terra di Siena maestro Daniel Barenboim in the PBS-TV documentary festival, where he serves as Artistic Director.

bravo JANUARY/FEBRUARY/MARCH 2019 30 ALESSIO BAX, pianist

Barenboim on Beethoven: Masterclass, available as a he is now the Johnson-Prothro Artist-in-Residence. He DVD boxed set on the EMI label. also serves with Chung as co-artistic director of the ​ Joaquín Achúcarro Foundation, created to support Alessio Bax graduated with top honors at the record young pianists’ careers. A Steinway artist, Bax lives age of 14 from the conservatory of Bari, his hometown in New York City with Chung and their daughter, Mila. in Italy, where his teacher was Angela Montemurro. Beyond the concert hall he is known for his longtime He studied in France with Francois-Joël Thiollier obsession with fine food; as a 2013 New York Times and attended the Chigiana Academy in Siena under profile noted, he is not only notorious for hosting Joaquín Achúcarro. In 1994 he moved to Dallas “epic” multi-course dinner parties, but often spends to continue his studies with Achúcarro at SMU’s his intermissions dreaming of meals to come. Meadows School of the Arts, where, with Lucille Chung,

JASON GAY, video artist

Jason Gay is proud to be a part of a collaboration with the fantastic Columbus Symphony Orchestra. Jason is a graduate of Otterbein University, with 25 years of experience in live entertainment. Jason shares his home in Granville, Ohio with his teenaged daughter and son. His day and night job include working as the Head Carpenter at the Ohio Theatre. Recent projects have included Columbus Symphony’s Holiday Pops and Twisted 2.

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Prelude and Love-Death from A man who rejoiced in the name of Ferreiro Tristan und Isolde (1857-59) introduced himself to me as the Brazilian consul by Richard Wagner in Leipzig, and told me that the Emperor of (Leipzig, 1813 - Venice, 1883) Brazil was greatly attracted to my music....The Emperor loved everything German and wanted The opening chord of Tristan und Isolde has no me very much to come to Rio [de] Janeiro, so place in the theoretical system in which all Western that I might conduct my operas in person. As musicians have been brought up. It is a chord that has only Italian was sung in that country, it would generated a virtually endless flow of commentaries be necessary to translate my libretto, which the and explanations, and was written on the banner of Emperor regarded as a very easy matter, and what Wagner’s most enthusiastic supporters called actually an improvement of the libretto itself.... “the music of the future.” At the same time, this I felt I could easily produce a passionate chord has nothing aggressive, barbarian, or destructive musical poem that would turn out quite excellent in it; it was dictated by Wagner’s desire to express in Italian, and I turned my thoughts once more, the passion of love in music with uncommon power with an ever-reviving preference, towards Tristan and intensity. Everything else, from the unrelenting and Isolde. chromaticism (use of tonally unstable half-steps) to the magnificence of the great climaxes, flows logically In the end, Tristan, influenced by Wagner’s reading from this one chord. of Schopenhauer’s pessimistic philosophy and a passionate love affair with Mathilde Wesendonck The Prelude to Tristan und Isolde was first performed (whose husband was one of Wagner’s benefactors), in concert in 1859, before the entire opera was did not exactly turn out as “lighter fare.” It certainly even finished. Wagner joined it together with the proved much more difficult to perform than Wagner Liebestod (“Love Death”), the opera’s final scene, had anticipated. (And, needless to say, the Brazilian and presented the two excerpts in concert in 1863, plans came to nothing.) For this reason, Wagner two years before the stage premiere. At this point, turned to concertizing, and the Tristan Prelude, it had been more than a decade since a new as a representative new work, naturally had pride Wagner opera had been staged, and during these of place on his programs. years, Wagner had worked harder than ever. After Lohengrin (1848), the composer had to flee Germany Tristan was based on several medieval romances because of his role in the Dresden uprising of telling the story of an illicit love between Tristan, 1849. Settling in Switzerland, he produced his King Mark’s vassal, and Isolde, engaged to be groundbreaking theoretical works on music drama, married to the King. The story could be told in and began composing the Ring cycle. He twice simpler words than it is in the following account by interrupted the composition of the Ring in favor Wagner, but hardly in a way more apt to put us in of projects that seemed easier to realize—first for the mood of the music: Tristan, which at first promised to be the “lighter fare” that could be produced quickly and yield An old, old tale, inexhaustible in its variations, some immediate profit while the much greater and ever sung anew in all the languages of demands of the Ring could be met. The other medieval Europe, tells us of Tristan and Isolde. interruption was Die Meistersinger. For this king the trusty vassal had wooed a maid he dared not tell himself he loved, Isolde; as With the knowledge of what Tristan eventually his master’s bride she followed him, because, became, it is amusing to read the following passage powerless, she had no choice but to follow the in Wagner’s autobiography: suitor. The Goddess of Love, jealous of her

bravo JANUARY/FEBRUARY/MARCH 2019 32 PROGRAM NOTES downtrodden rights, avenged herself: the love Piano Concerto in A minor, Op.16 (1868) potion destined by the bride’s careful mother by Edvard Grieg for the partners in this merely political marriage, (Bergen, Norway, 1843 - Bergen, 1907) in accordance with the customs of the age, the Goddess foists on the youthful pair through a Edvard Grieg was primarily a master of small-scale blunder diversely accounted for; fired by its forms like the short lyrical piano piece or incidental draught, their love leaps suddenly to vivid flame, music for the theater. Most of his larger works, and they have to acknowledge that they belong including three sonatas (two for violin and piano, only to each other. Henceforth no end to the one for piano solo), date from his twenties, as does yearning, longing, rapture, and misery of love: his Piano Concerto in A minor. world, power, fame, honor, chivalry, loyalty and friendship, scattered like an insubstantial dream; In 1868, when he wrote the concerto, Grieg was one thing alone left living: longing, longing an ambitious young man of 25, dreaming of the unquenchable, desire forever renewing itself, day when his native Norway would no longer be craving and languishing; one sole redemption: the musical backwater it was then. Having death, surcease of being, the sleep that knows returned from Leipzig, where he had studied at the no waking! conservatory for seven years and absorbed Schumann’s influence, Grieg became more and Here in music’s own most unrestricted element, more interested in Norwegian folk music. As John the musician who chose this theme for the Horton has written in his biography of Grieg, the introduction to his drama of love could have but Piano Concerto “is generally agreed to be the one care: how to impose restraint on himself, most complete musical embodiment of Norwegian since exhaustion of the subject is impossible. national Romanticism.” So just once, in one long-articulated impulse, he let that insatiable longing swell up from the This claim finds support not only in the lively timidest avowal of the most delicate attraction, Norwegian folk-dance rhythms in the concerto’s through anxious sighs, hopes and fears, laments finale, but also in a melodic style that often and wishes, raptures and torments, to the mightiest departs from classical conventions. The concerto’s onset and to the most powerful effort to find the very opening challenges a long-standing tradition breach that will reveal to the infinitely craving according to which the seventh degree of the scale heart the path into the sea of love’s endless had to act as a “leading tone,” that is, be followed rapture. In vain! Its power spent, the heart sinks by the first degree or tonic. The piano’s first entrance back to languish in longing, in longing without is on the tonic A, followed by the seventh degree, attainment, since each attainment brings in its G sharp that instead of leading back to A, drops wake only renewed desire, until in final exhaustion down to E. The same gesture, the leading tone the breaking glance catches a glimmer of the moving down instead of up, occurs in the melody of attainment of the highest rapture: it is the rapture the second-movement Adagio as well. Other themes of dying, of ceasing to be, of the final redemption in the work contain a certain “modal” flavor, hinting into that wondrous realm from which we stray at scales other than the customary major and minor— the furthest when we strive to enter it by force. scales that may be found in many European folk Shall we call it Death? Or is it the miraculous traditions. These modal turns made a great impression world of Night, from which, as the story tells, an on Franz Liszt when, in 1870, he sight-read the ivy and a vine sprang of old in inseparable whole concerto in the presence of the composer embrace over the grave of Tristan and Isolde? and his wife. As Grieg later recalled:

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I must not forget one delightful episode. Towards Sibelius, who came of age during this period the end of the finale the second theme is… of momentous changes in Finnish history, was repeated with a great fortissimo. In the very last immersed in the Kalevala from his early choral bars, where the first note of the first triplet—G symphony Kullervo (1892) to his last symphonic sharp—in the orchestral part is changed to G work, Tapiola (1926). natural, while the piano runs through its entire compass in a powerful scale passafe, he suddenly The Four Legends that we are going to hear tonight jumped up, stretched himself to his full height, focus on one of the Kalevala’s central characters, strode with theatrical gait and uplifted arm Lemminkäinen. This youthful Don Juan is courageous through the great monastery hall, and literally to the point of recklessness, and embodies a spirit bellowed out the theme. At that particular G of adventure and boundless energy. The set of four natural he stretched out his arm with an pieces outlines the structure of a four-movement imperious gesture and exclaimed; “G, G, not symphony. “Lemminkäinen and the Maidens of G sharp! Splendid! That’s the real thing!” And the Island” represents the opening sonata allegro, then, pianissimo and in parenthesis “I had “Lemminkäinen in Tuonela” the scherzo, “The Swan something of the kind the other day from of Tuonela” the slow movement, and “Lemminkäinen’s Smetana.” He went back to the piano and played Homeward Journey” the finale. The hero’s adventures the whole ending over again. Finally, he said in range from the romantic to the tragic and a strange, emotional way: “Keep on, I tell you. supernatural; accordingly, the music encompasses You have what is needed, and don’t let them a wide array of emotions, evoking in turn the frighten you.” mysteries of the cold, dark Northern landscape and the vigorous activities of the people who inhabit it. Some of the work’s musical ideas were derived Four Legends from the Kalevala from an aborted opera project, The Building of the (Lemminkäinen Suite, 1893-95) Boat, also based on the Kalevala. by Jean Sibelius (Hämeenlinna, Finland, 1865 - Järvenpää, 1957) In the first movement, our hero sets off for the Island of Women, where he amuses himself with To the Finnish people, the Kalevala is much more a very large number of residents. Sibelius, according than a literary work. In the 19th century, it stood as to his leading Finnish biographer, Erik Tawaststjerna, a symbol of Finnish national identity, the most “does not follow an exact literary program but important early document of the language, and a chooses rather to evoke the general atmosphere treasure trove of mythical stories that most Finns of the poem.” The movement is based on a were intimately familiar with (and still are today). characteristic chord (a triad with an added sixth), When this long, anonymous epic poem was first presented at the outset by the four horns. The published in 1835, it was the rallying call for a dance-like main theme is introduced by the national renewal movement. For centuries, Finland woodwind, a more emotional contrasting idea by had been dominated by foreign powers (Sweden, the string section (emphasizing the cellos). Both then Russia), and the language of educated people themes are amply developed; there are several was Swedish. The publication of the Kalevala gave dramatic climaxes, but the movement ends in a the decisive impetus to the movement that subdued pianissimo as the girls of the island lament established Finnish as the country’s primary Lemminkäinen’s departure. language—a movement that played a major role in the struggle for independence, which finally came The second movement is “Lemminkäinen in Tuonela.” a hundred years ago, in 1918. The hero wanted to marry the Maiden of Pohjola (this maiden would later become the subject of

bravo JANUARY/FEBRUARY/MARCH 2019 34 PROGRAM NOTES another Sibelius tone poem, Pohjola’s Daughter). is then briefly recapitulated, but the ending is To win her hand, he was sent to Tuonela, the once again soft and peaceful. underworld, by the girl’s mother, the sorceress Louhi, with the assignment to shoot the Swan of The third movement, “The Swan of Tuonela,” is Tuonela with a single arrow. The outcome of the the most famous of the four legends. The slow expedition turned out to be very nearly fatal, as the motion of the Swan, floating in the river of death, is hero was attacked and slain by a servant of represented by a long, sorrowful English horn solo. the sorceress. The son of the underworld’s ruler The gloomy atmosphere is relieved for only a brief cut Lemminkäinen’s body up in tiny pieces and moment when the harp enters and an unexpected scattered them in the river. It would be the end of modulation shows a momentary glimpse of a happier Lemminkäinen, were it not for his mother’s magic world. The tragic mood, however, soon returns, and powers. She hurried to the scene with a long rake the piece ends as sadly as it began. (custom-made for her by the divine smith Ilmarinen), collected all the tiny particles of her son’s body The last legend, “Lemminkäinen’s Return,” uses a and miraculously joined them together so that motif from the previous movement. The same Lemminkäinen came back to life, as healthy and theme that sounded gloomy and foreboding in vigorous as ever. the underworld scene now returns, bright and full of energy. The entire movement is a series of The music paints a vivid image in sound of an crescendos, based on this motif and its variants; inferno filled with horrors at every turn. The quiet each crescendo is more powerful than the previous middle section (with the violins playing tremolos one. The increase in volume is matched by a in a high register) sounds like a lullaby; according corresponding acceleration in tempo, all the way to Tawaststjerna, this is the moment where “the to a Presto coda where even the last trace of a mother enters the picture.” The music becomes shadow disappears: the dark minor mode that has slower and slower; the short central phrase for prevailed until now finally gives way to a glorious strings and bass drum, marked “Largo assai,” may and resplendent E-flat major sonority. stand for the mother’s magic incantations that restore Lemminkäinen to life. The wild inferno music Notes by Peter Laki

bravo JANUARY/FEBRUARY/MARCH 2019 35 bravo JANUARY/FEBRUARY/MARCH 2019 36 SATURDAY, MARCH 23, 2019, 8:00 P.M. JURASSIC PARK IN CONCERT THE OHIO THEATRE Columbus Symphony Pops Series

Stuart Chafetz, conductor • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • A STEVEN SPIELBERG Film

SAM NEILL LAURA DERN JEFF GOLDBLUM and RICHARD ATTENBOROUGH • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • BOB PECK MARTIN FERRERO B.D. WONG SAMUEL L. JACKSON WAYNE KNIGHT JOSEPH MAZZELLO ARIANA RICHARDS

bravo JANUARY/FEBRUARY/MARCH 2019 37 Live Action Dinosaurs STAN WINSTON Full Motion Dinosaurs by DENNIS MUREN, A.S.C. Dinosaur Supervisor PHIL TIPPETT Special Dinosaur Effects MICHAEL LANTIERI Music by JOHN WILLIAMS Film Edited by MICHAEL KAHN, A.C.E. Production Designer RICK CARTER Director of Photography DEAN CUNDEY, A.S.C. Based on the Novel by MICHAEL CRICHTON Screenplay by MICHAEL CRICHTON and DAVID KOEPP Produced by KATHLEEN KENNEDY and GERALD R. MOLEN Directed by STEVEN SPIELBERG A UNIVERSAL PICTURE

Tonight’s program is a presentation of the complete film Jurassic Park with a live performance of the film’s entire score, including music played by the orchestra during the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the credits.

Jurassic Park is a trademark and copyright of Universal Studios. Licensed by Universal Studios. All Rights Reserved.

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bravo JANUARY/FEBRUARY/MARCH 2019 38 A NOTE FROM THE COMPOSER

In his highly successful book, Jurassic Park, author what the trumpeting of these great beasts of the Michael Crichton enabled us to imagine what distant past might have been like… the return of the great vertebrates of 150 million years ago might be like. In his thrilling 1993 film I know I speak for everyone connected with the adaptation, Steven Spielberg brought these fascinating making of Jurassic Park in saying that we’re greatly and terrifying creatures to life, and in so doing honored by this event… and I hope that tonight’s captivated movie audiences around the world. audience will have some measure of the joy we experienced while making the film more than twenty I must say that I greatly enjoyed the challenge of years ago. trying to tell the film’s story musically. And while we can luxuriate this evening in the magnificent sound produced by the Columbus Symphony Orchestra as they perform the entire score live to the picture, it’s nevertheless tempting to imagine

PRODUCTION CREDITS

Jurassic Park in Concert produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc.

Producers: Steven A. Linder and Jamie Richardson Production Manager: Rob Stogsdill Production Coordinator: Sophie Greaves Worldwide Representation: IMG Artists, LLC Supervising Technical Director: Mike Runice

Music Composed by John Williams

Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Ramiro Belgardt Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for Jurassic Park has been adapted for live concert performance. With special thanks to: Universal Studios, Steven Spielberg, Kathleen Kennedy, John Williams, Chris Herzberger, Noah Bergman, Paul Ginsburg, Paul Tamara Woolfork, Adrienne Crew, Darice Murphy, Mike Matessino, Mark Graham and the musicians and staff of the Columbus Symphony Orchestra.

bravo JANUARY/FEBRUARY/MARCH 2019 39 JOHN WILLIAMS, composer

including Schindler’s List, E.T. the Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Saving Private Ryan, Lincoln, The BFG and The Post. Mr. Williams has composed themes for four Olympic Games. He served as music director of the Boston Pops Orchestra for fourteen seasons and remains their Laureate Conductor. He has composed numerous works for the concert stage including two symphonies, and concertos commissioned by many of America’s most prominent orchestras. Mr. Williams has received five Academy Awards and 51 Oscar nominations (making him the second-most nominated person in the history of the Oscars), seven British Academy In a career spanning more than five decades, Awards, twenty-four Grammys, four Golden Globes, John Williams has become one of America’s most and five Emmys. In 2003, he received the Olympic accomplished and successful composers for film Order (the IOC’s highest honor) for his contributions and for the concert stage, and he remains one of to the Olympic movement. In 2004, he received the our nation’s most distinguished and contributive Kennedy Center Honors, and in 2009 he received musical voices. He has composed the music for the National Medal of Arts, the highest award given more than one hundred films, including all eight to artists by the U.S. Government. In 2016 he received Star Wars films, the first three Harry Potter films, the 44th Life Achievement Award from the American Superman, Memoirs of a Geisha, Home Alone and Film Institute—the first time a composer was honored The Book Thief. His 45-year artistic partnership with with this award. director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, (January 2018)

bravo JANUARY/FEBRUARY/MARCH 2019 40 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 JANUARY/FEBRUARY/MARCH 2019 41 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 JANUARY/FEBRUARY/MARCH 2019 42 bravo JANUARY/FEBRUARY/MARCH 2019 43 bravo JANUARY/FEBRUARY/MARCH 2019 44 COLUMBUS SYMPHONY

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

bravo JANUARY/FEBRUARY/MARCH 2019 46 COLUMBUS SYMPHONY LEAGUE

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

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

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

bravo JANUARY/FEBRUARY/MARCH 2019 47 PARTNERS IN EXCELLENCE

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) Jack and Joan George Jane P. Mykrantz and Advanced Drainage Systems Cindy and Larry Hilsheimer Kiehner Johnson Lois H. Allen Fred and Judy Isaac Gay Su Pinnell Lisa and Chris Barton Nancy Jeffrey* Wayne and Cheryl Rickert Mrs. Rhoma Berlin Mr. Eric T. Johnson and Andy and Sandy Ross Jim and Susan Berry Dr. Rachel G. Mauk Amy and Alan Shore Mr. and Mrs. James L. Boggs Steve and Diane Jones George and Patricia Smith Mr. and Mrs. Thomas H. Brinker Frank and Linda Kass Kim and Judith Swanson Robert and Susan Cochran Mary Lazarus Sheldon and Rebecca Taft Ted and Lynn Coons Alan and Ginny Litzelfelner Jennifer Tiell and Mark Adelsperger Janet and Robert Cox Nancy and Tom Lurie David H. Timmons Dr. and Mrs. Jerome J. Cunningham Don Lynne Craig D. and Connie Walley Marvin E. Easter Albert N. and Susan J. Mancini Dr. Gifford Weary and Cornelia B. Ferguson Emily McGinnis Mr. David Angelo Francille and John Firebaugh Lawrence and Katherine Mead Thomas and Gwen Weihe The Rev. Earl and Pauline Fritz Barbara and Mervin* Muller William and Jane Wilken Tom and Melanie Murray

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

bravo JANUARY/FEBRUARY/MARCH 2019 48 CORPORATE AND FOUNDATION PARTNERS

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

bravo JANUARY/FEBRUARY/MARCH 2019 49 INDIVIDUAL PARTNERS

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

bravo JANUARY/FEBRUARY/MARCH 2019 50 INDIVIDUAL PARTNERS

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

bravo JANUARY/FEBRUARY/MARCH 2019 51 IN KIND

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 December 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 Jeani Stahler Lisa Barton Symphony William and Carolyn Jacob Susan Tomasky and Ron Ungvarsky Donna Cavell Rosa Stoltz Christian Bush Ron Jenkins Carol and Steve Handler Nancy Stohs and David Bush Alexa Konstantinos Sheri VanCleef Mariana Szalaj Connie Cahill William and Carolyn Jacob Jeremy Kalef Rossen Milanov Marcia Katz Slotnick David Tanner Andrew Carr Nancy and Eugene King Anonymous Barbara Nelson Deborah Cooper David Thomas Columbus Symphony Trombone Jan Ryan Section Suzanne Newcomb Wayne and Cheri Rickert Ruth Whitehouse Don and Naomi Valentine Gary and Evelyn Kinzel Columbus Symphony Youth Charlie Seal Orchestra Devon and Michael Seal Jan Wade Adam and Laura Weiser Rob and Marti Rideout Del Sheaffer Phil and Valerie Stichter Brandi Daramola Linda and Jeffrey Maxwell William and Carolyn Jacob Chad and Melinda Whittington Barbara and Si Sokol Violet Whittington Patti Eshman Carla Sokol Joanne Spoth Jody Williams Peter Stafford Wilson Bill Hegarty Terry L. Fairfield Garrett and Sidney Dill Dr. Stephanie R. Davis Wallace Lawrence and Kathy Mead Jiu Zhennan and Jeff and Jeani Stahler Christopher Clerc Kate Fornshell Kim and Jude Swanson Edwin and Roberta Przybylowicz Tori Raiken Dr. Stephanie Davis Wallace Jerry and Susan Woodruff

bravo JANUARY/FEBRUARY/MARCH 2019 52 TRIBUTE GIFTS

IN MEMORY Joanne M. Frye Mary Lou Kable Ann Backe Friends of the Columbus Symphony Garrett and Sidney Dill Anonymous Barna J. Graves Friends of the Columbus Symphony Mrs. Barna J. Graves David M. and Marilyn G. Gary Fulmer Allen and Annie Hu Baumgartner Friends of the Columbus Symphony Ann Schnapp Janice M. Ladd Betty Lou Furash Malinda K. Heineking Cynthia Bell Marilyn Harris Steven Bell Elaine Lemeshow Bo Gallo Stanley Lemeshow Betty Rae Bishoff Mrs. Rhoma Berlin Margaret Watkins Robert E. Lindemann Dr. Michael O. Garraway Patricia Carpenter Dr. Bill Blair Dr. Annie Marie Garraway Mrs. Robert E. Lindemann Mrs. Janet Blair Allene N. Gilman Lenore Loewengart Barbara Bradfute Allene N. Gilman Charitable Trust Steven and Victoria Loewengart Joyce Ann Merryman Kay Graf Mary Long Louis A. Burns Mrs. Rhoma Berlin Richard Duesterhaus and Anonymous Garrett and Sidney Dill Jude Mollenhauer Friends of the Columbus Symphony Zamah Cunningham BJ Friedery and Arnold Erickson Barna J. Graves Miso Kim Patricia A. Cunningham and Michael and Diane Hockman Craig R. Hassler Jan Ryan Sally Guzzetta Jean and John White Gene D’Angelo Kathleen Ort Mrs. Rhoma Berlin Mary Jean Loveday Zuheir and Susan Sofia JoAnn Hall Dr. Amos J. Loveday, Jr. G. Philip Hall Weldon and Etta Mae Davis Joan Lynne Terry Alan Davis Mary Schneider Hamblin Don Lynne Dr. Edward L. Hamblin Greg Dillon Vivek Mahajan Barbara Dillon Marvin Hamlisch Dr. Varun and Dr. Monica Mahajan Mrs. Janet Blair Flo Ann Easton Kristine J. McComis Mrs. Rhoma Berlin Kasey Hansen Janet K. Anderson Friends of the Columbus Symphony Bryce C. Hansen Anne Melvin Evelyn Bice Erlanger Donald Harris Salvador and Susan Garcia Edgar Erlanger Anonymous Ronald and Mary Hooker Kevin Greenwood and Mark Lowery The Jeffrey Company William Ferguson Mark, Seton and Anne Melvin Ken and Deb Behringer Fanny A. Hassler Justin and Jane Rogers Sara and John Donaldson Patricia A. Cunningham and Mrs. Norman T. Smith Nancy Jeffrey Craig R. Hassler Sharon Tipton Anne and Bill Porter Jan Wade Tom and Lynn Ryan Bunny Hyatt Linda and Richard Sedgwick Garrett and Sidney Dill Dolores Millat Craig and Maureen Shaver Friends of the Columbus Symphony Wayne and Cheri Rickert Mrs. Barna J. Graves Jeffrey and Megan Walker Robert Millat David Frost Charles Hyatt Andrew and Bette Millat Anonymous (3) Mrs. Rhoma Berlin Wayne and Cheri Rickert Andrew Carr Garrett and Sidney Dill Stephanie Rippe Jay and Joyce Fishman Paul Josenhans John and Sally Stefano Annette Molar Annegreth T. Nill and Bruce C. Posey Marilyn and Alan Levenson Donald and Jeannette Frost Barry Molar and Juliet Mellow Dale Masel and Roberto McClin

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Sam and Jane Morris Julie Ostrander Oscar L. and Rita C. Thomas Lisa Morris and Kent Shimeall Kay Hedges Anonymous Mervin Muller Joseph H. Oxley Richard Tice Barbara Clark Margaret Oxley Mrs. Rhoma Berlin David Cohen Loanne Crane Oxley Family Loved Ones Rachel Timmons Diane Driessen Margaret Oxley Barbara E. Goettler Belle Francisco and Rick Long Rosemary Joyce Mickey Pheanis Ellen Rose Joyce Gatwood Columbus Symphony League Michael and Olga Howie Judy Ross Mr. Gary Tirey Karen Hudson Jennifer Tiell and Mark Adelsperger George and Kimberly Hoessly James and Pamela Huebner Marty Marlatt Nancy Ross Wendy Vogl-Old Linda McCutchan Pat and Nancy Ross Christina Old Sharie and Dennis McQuaid Ben and Alicia Mehraban Larry Rutherford Margaret Wall George and Ruth Paulson Dr. Robert Horvat Katherine Boehm Denise Rehg Mary Louise Casanta John and Carol Robinson William B. Shimp John and Rosina Hartig The Shafer Family Steve and Terry Sansbury Scott and Susanne Hirth Marilyn Metzger Rebecca Stilson and Mike Sullivan Margaret Sibbring Ed and Deb Susi Louise Swanson Friends of the Columbus Symphony Mary K. and Ray Wall Marcella Murley Edwin R. Six III Nancy Watkins Patrick J. Walsh H. J. Six Daria Arbogast Patricia Nichols Mary Jeannette Smith Evan and Jean Whallon Lori Beals Francis C. Smith Dorothy and Rod Beehner Fonda Fichthorn David and Susan Beyerle Gene Standley Janice T. Whittaker Jean Brandt Tom Battenberg and Helen Liebman Nick and Lani Davakis The Choral Group of the American John and Mary Fetters Helen and Harry Sutherland Association of University Women Mark and Joyce Koch Friends of the Columbus Symphony Bonnie Wilson Clyde Gosnell and Louise Warner Elizabeth Sturgess Brent Welch Beverly and Eric Johnston Mrs. Rhoma Berlin Ann Morgan George H. Wilson Robert Sprouse Kathy Snapp Robert Nichols Stacey and Josh Ascher Diane and Tony Piasecki Joe and Becky Clark Leslie Ann Yovan Ann Root Laura and Baily Crockarell John and Diana Yovan James and Gloria Sherer Richard Pettit Stephen and Margaret Sutton

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

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

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, Latecomers and those who leave the hall once 9 am to 5 pm weekdays and 10 am to 2 pm a performance has begun will be seated at the on Saturdays, to purchase tickets by credit card. discretion of the house manager during appropriate Discover, MasterCard, Visa, and American Express are pauses. To assure that you are able to enjoy accepted. Fax orders 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 reserves the right to search such items and to Center, 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 Cameras and recording equipment may not are subject to a theatre restoration fee. be 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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