A Message from the Chair of the Board of Trustees 4 2020 Musician Roster 5 JANUARY 10-12 9 Russian Winter Festival I: Natasha Returns JANUARY 24-25 17 Russian Winter Festival II: Masterpieces FEBRUARY 21-22 25 Saint-Saëns Organ Symphony With Cameron Carpenter FEBRUARY 28-29 33 Chihuly Festival: Bluebeard’s Castle Spotlight on Education 42 Board of Trustees/Staff 43 Friends of the Columbus Symphony 45 Columbus Symphony League 46 Future Inspired 47 Partners in Excellence 49 Corporate and Foundation Partners 49 Individual Partners 50 In Kind 53 Tribute Gifts 53 Legacy Society 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 © 2020. All rights reserved. Printed in the U.S.A. A MESSAGE FROM THE CHAIR OF THE BOARD OF TRUSTEES

Dear Columbus Symphony Supporter,

As the wonderful performances of our 2019-20 season continue, we again thank you for your support of quality, live performances of orchestral music in our community!

We start the new year by putting the star in Columbus with Russian Winter Festival I: Natasha Returns (January 10–12, Ohio Theatre). Natasha Paremski performs Rachmaninoff’s first piano concerto, and the concert concludes with the dramatic genius of Tchaikovsky in his powerful Manfred symphony.

Following is our Russian Winter Festival II: Exotic Masterpiece (January 24 & 25, Ohio Theatre). Rossen Milanov takes you on a musical journey through Russia highlighting favorites, such as works by Prokofiev and Rimsky-Korsakov, and Tchaikovsky’s 1812 Overture.

In February, you’re in for an amazing performance from organ soloist Cameron Carpenter. Saint-Saëns Organ Symphony with Cameron Carpenter (February 21 & 22, Ohio Theatre) will showcase the Ohio Theatre’s powerful “Mighty Morton” pipe organ—one of the best instruments of its kind in the country.

February concludes with a highlight of the season, Chihuly Festival: Bluebeard’s Castle (February 28 & 29, Ohio Theatre). Inspired by the legend of Bluebeard, this production fuses Bartok’s iconic thriller with the work of celebrated artist Dale Chihuly.

On behalf of the musicians, staff, and board of the Columbus Symphony, we sincerely thank you for your enduring support, enthusiasm, and faith in this organization.

Please enjoy tonight’s performance!

Lisa Barton Board Chair

bravo JANUARY/FEBRUARY 2020 4 Columbus Symphony Musicians

VIOLINS

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

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

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

VIOLAS

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

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

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

VIOLONCELLOS BASSES

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

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

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

BASSOONS HORNS

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

Adam Koch Jeffrey Korak Andrew Millat Joseph Duchi *James Akins Lisa and Chris Principal Principal Barton Chair TIMPANI PERCUSSION HORNS Bruce Henniss Kimberly McCann Colin Bianchi TRUMPETS Tom Battenberg Gary Davis Andy Lott TROMBONES David Roode TUBAS Benjamin Ramirez Philip Shipley Jack Jenny Principal Principal Jonathan Fowler American Electric Power Foundation Chair PERCUSSION Brian Kushmaul NOT PICTURED Cameron Leach Bill Lutz VIOLINS VIOLONCELLOS OBOES Mikhail Baranovsky Mary Davis Jacob Martin HARP Maria Beltavski Yoni Draiblate Hugo Souza Rachel Miller Leah Burtnett Sabrina Lackey Symphony League Chair BASS CLARINET Alix Raspe Amber Dimoff Will Teegarden Bill Denza KEYBOARD Erin Gilliland BASSES Heather Kufchak BASSOONS & Caroline Hong Wilbur “Skip” Edwards CONTRABASSOON Reinberger Ji-Yeon Lee James Faulkner William Manley Cynthia Cioffari Foundation Chair Emily Tarantino Michael Chertock Manami White SAXOPHONE FLUTES & LIBRARIANS VIOLAS Michael Cox PICCOLOS Jean-Etienne Lederer Yu Gan Janet van Graas Patrick Miller Principal Librarian Ila Rondeau Jacqueline Meger Library Assistant

FRIDAY, JANUARY 10, 2020, 7:30 PM SATURDAY, JANUARY 11, 2020, 7:30 PM SUNDAY, JANUARY 12, 2020, 2:00 PM RUSSIAN WINTER FESTIVAL I: NATASHA RETURNS OHIO THEATRE Rossen Milanov, conductor Natasha Paremski, piano • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

SERGEI RACHMANINOFF Piano Concerto No. in F-sharp Minor, Op. 1 I. Vivace II. Andante III. Allegro vivace

INTERMISSION

PIOTR ILYICH TCHAIKOVSKY Manfred Symphony, Op. 58 I. Lento lugubre II. Vivace conspirito III. Pastorale: Andante con moto IV. Allegro con fuoco

ADDITIONAL SUPPORT PROVIDED BY MASTERWORKS HOTEL SPONSOR:

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

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Oregon Symphony, Buffalo Philharmonic, and the Royal Philharmonic Orchestra, with whom she has performed every year since 2008. She has performed with major orchestras in North America, including the Dallas Symphony Orchestra, Los Angeles Philharmonic Orchestra, Toronto Symphony, Baltimore Symphony, Houston Symphony, and others. Natasha Paremski has given recitals in Paris, London, Buenos Aires, Tokyo, and numerous U.S. cities, including Seattle, Kansas City, and Santa Fe. She has also appeared on

© clarence-chan the Rising Stars Series of the Gilmore and Ravinia Festivals. With her consistently striking and dynamic performances, pianist Natasha Paremski Natasha Paremski was awarded several reveals astounding virtuosity and voracious prestigious prizes at a very young age, including interpretive abilities. She continues to generate the Gilmore Young Artists prize in 2006 at the excitement from all corners as she wins over age of eighteen. In 2010, she was awarded audiences with her musical sensibility and the Classical Recording Foundation’s Young powerful technique. Artist of the Year. Her first recital album was released in 2011 to great acclaim, topping In the 2019-29 season Ms. Paremski the Billboard Classical Charts. In 2012 she performs the Rachmaninoff cycle with recorded Tchaikovsky’s Piano Concerto No. 1 Symphoria Syracuse, returns to the Columbus and Rachmaninoff’s Paganini Rhapsody with Symphony, and will perform with the Knoxville, the Royal Philharmonic Orchestra on the Jacksonville and Charleston Symphonies. orchestra’s label, distributed by Naxos. She will also give a recital at Herbst Hall in San Francisco. Born in Moscow, Natasha Paremski moved to the U.S. at the age of eight, and is now based Natasha Paremski is a regular return guest in New York. of many major orchestras, including the Minnesota Orchestra, San Francisco Symphony,

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Piano Concerto No. 1 in F-sharp minor, Rachmaninoff turned down an invitation to play the Op. 1 (1891, rev. 1917) work in London as he thought it was not good enough. by Sergei Rachmaninoff (Semyonovo, Russia, 1873 – (Henry Wood, the director of the Proms, disagreed and Beverly Hills, CA, 1943) performed the work anyway with another pianist.)

In Russian schools, the highest grade a student For his part, Rachmaninoff preferred to write two more can receive is a 5, to which, in exceptional cases, concertos in 1900-01 and in 1909, his universally a plus sign can be added. Therefore, the incident popular Second and Third. Yet he did not forget about that took place at a harmony examination at the the First, and continued to entertain plans of revising Moscow Conservatory in 1887 can certainly be it. On April 12, 1908, he wrote to a friend: “I have called unusual. The committee, which included Piotr three pieces that frighten me: the First Concerto, the Tchaikovsky, had just heard a 14-year-old student Capriccio, and the First Symphony. I should very much named Sergei Rachmaninoff who had by far exceeded like to see all these in a corrected, decent form.” the requirements of the class. In addition to the simple harmonic exercises called for, the boy played The Capriccio on Gypsy Themes is a weak and now some original compositions he had written. Professor entirely forgotten work, and the premiere of the Tchaikovsky took the examination book and added First Symphony was a fiasco that left deep scars. three more plus signs to the “5+” already there—one Rachmaninoff never touched these two works again. on top, one below, and one behind. He did eventually get around to revising the First Concerto, however. The moment came 26 years after “My fate as a composer was, as it were, officially the original version, during the politically turbulent sealed”—Rachmaninoff recalled many years later. The and artistically fallow year of 1917. This revision, youngster entered Sergei Taneyev’s class as a student his last major undertaking before he left Russia for of composition, and soon became the star of the good at the end of the year, was rather extensive, conservatory, even though he had the equally brilliant involving recomposition of a large portion of the work, Alexander Scriabin as one of his classmates. The year partial reorchestration and a great many changes of Rachmaninoff graduated with the highest honors detail. In the new version, the youthful energy of the (1893), his one-act opera Aleko was performed in a 17-year-old is combined with the experience of a double bill alongside Tchaikovsky’s Iolantha. Having mature composer whose catalog had in the meantime his work on the same program with one of Russia’s reached Op. 39. The writing, although clearly leading composers, at the Bolshoi Theater no less, influenced by the concertos of Schumann, Tchaikovsky was enough to launch the 20-year-old’s career. The and Grieg, nevertheless bears the unmistakable former star student soon became the most prominent stamp of Rachmaninoff’s own personality. Virtuoso Russian musician of his generation, much sought brilliance and lyrical expansiveness go hand in hand after as a composer, pianist and conductor until his in this concerto. Rachmaninoff is usually described departure from Russia in the wake of the October as a conservative composer, yet innovation is not Revolution of 1917. entirely absent, as in the changing meters of the last movement, introduced in the 1917 revision. The First Piano Concerto was Rachmaninoff’s first large-scale work, and the first composition he deemed Rachmaninoff hoped that in its revised form, the worthy of an opus number. It was written while concerto might share in the success of his Second Rachmaninoff was still a student at the Conservatory, and Third Concertos. As he later wrote in a letter in 1890-91. Rachmaninoff performed the first to Alfred Swan, a musicologist and friend: “I have movement with the school orchestra in 1892 but, rewritten my First Concerto; it is really good now. All surprisingly, there is no evidence that he ever played the youthful freshness is there, and yet it plays itself the entire concerto again until he revised it in 1917, so much more easily. And nobody pays any attention. although others did so over the years. In fact, in 1899 When I tell them in America that I will play the First

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Concerto they do not protest, but I can see by their Actually, the original idea for a Manfred Symphony faces that they would prefer the Second or Third.” did not come from Balakirev himself but from the Still, as Rachmaninoff biographer Geoffrey Norris influential literary critic Vladimir Stasov, who was a observed, “The First is a very different piece [from the kind of spiritual father to the “Mighty Handful,” also Second or the Third]; the characteristic melodies, if advising Mussorgsky about Boris Godunov. Stasov less remarkable, are there, but they are combined with came up with an outline for a four-movement work a youthful vivacity and impetuosity which were soon based on Lord Byron’s drama Manfred in 1868 and to be replaced by the more sombre melancholy and presented it to Balakirev, who declined to compose wistfulness of the later works.” it. Balakirev first tried to interest Hector Berlioz in the project: the French master (who, after all, had Duration of completed work: 0:26:00 composed another work based on Byron, Harold in Last CSO performance(s) of work: 6/28/2000 with Italy) was touring Russia that year, but felt too old Peter Wilson, conductor to undertake the task (in fact, Berlioz died the very next year). The outline lay dormant until 1881 when Manfred Symphony, Op. 58 (1885) Balakirev took it out of the drawer and handed it to by Piotr Ilyich Tchaikovsky (Kamsko-Votkinsk, Russia, 1840 – Tchaikovsky, complete with detailed directions down St. Petersburg, 1893) to the choices of keys to use. Piotr Ilyich demurred Incredible but true: as a well-established composer in at first, not last because had a deep admiration for his mid-forties, Tchaikovsky was still willing, at least Robert Schumann’s overture and incidental music to on one important occasion, to allow his former mentor Manfred. Yet after three more years, he changed his Mily Balakirev to dictate what he should compose and mind following a long tête-à-tête with Balakirev. Then, how. In the case of Manfred, to be sure, he needed a once he got started, he could no longer stop (he said lot of persuasion, having rejected Balakirev’s proposal as much in a letter to a friend), and wrote the work in at first. But in the end, he did spend almost half a one fell swoop during the spring and summer of 1885, year of his life on the project, producing an hour- in the end disregarding most of Balakirev’s ideas. long symphony that he alternately described, in his There is no doubt that Byron’s drama struck a deep private correspondence, as “perhaps the best of my nerve in Tchaikovsky, once he decided to open himself symphonic compositions,” and “an abominable piece up to it. The English poet wrote Manfred in 1816 that I loathe deeply, with the one exception of the after being forced into exile (he was never to see his first movement.” For a while, he toyed with the idea homeland again). The drama’s point of departure was of separating that first movement from the rest of the clearly influenced by Goethe’s Faust: we see a solitary symphony and reworking it as a symphonic poem, but protagonist bewailing the fact that he has wasted his he never carried out that plan. Apparently, he just life in the pursuit of knowledge, and seeking help from wanted to get away from Manfred. supernatural powers. But unlike Faust, Manfred refuses Seventeen years earlier, a young Tchaikovsky to enter into any sort of pact with those powers. He had written his first masterpiece, the fantasy- wants to bend them to his will without offering them overture Romeo and Juliet, according to Balakirev’s anything at all in return; of course, he is doomed from specifications. The latter was a charismatic figure the outset. During his solitary wanderings high in the who, in the late 1860s, gathered around him the Alps, Manfred wants only one thing: to forget. From most talented young Russian composers (only slightly a few oblique hints in the drama we learn that what younger than himself) to form what became known he wants to forget is his incestuous relationship with as the “Mighty Handful.” Balakirev himself wrote his sister Astarte, for whose death he is somehow little and was more important as a teacher and an responsible. (There is an autobiographical element inspiration to others. here, for Byron, too, had had an affair with his half- sister Augusta Leigh.) The circumstances under which

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Tchaikovsky was reading this dark tale are significant the orchestral elaboration of this melody almost in themselves: the composer was sojourning in the outweighs the scherzo proper. The brooding principal Swiss Alps, where Byron’s drama was set. His stay theme from the first movement is skillfully woven into there had been just as troubled as Manfred’s had the musical fabric, but it eventually disrupts that been, since his young friend, the violinist Iosif Kotek fabric entirely and Manfred suddenly stands before us who had inspired his Violin Concerto, lay dying at the in all his misery. Fortunately, the classical device of tuberculosis hospital in Davos. recapitulation can be relied upon to brush aside the tragic emotions; the fairy music duly returns, though To be sure, Stasov’s outline didn’t mention the not without a final reminder of the Manfred theme incest part, as it also omitted other memorable shortly before the end. moments, such as the invocation of the elements at the beginning. Trying to reconcile the program with The third movement is Tchaikovsky’s “Scene in the the requirements of the four-movement symphony, Meadows,” after the corresponding part in Berlioz’s the critic envisioned an adagio that would evoke Symphonie fantastique. The opening melody, played the simple life of the mountain-dwellers and gave by the oboe, and especially the clarinet theme soon the spirits their due in a fairy scherzo. The scheme following, suggests a pastorale—a contemplation of was evidently indebted to Berlioz’s Harold, as is, the beauties of nature and its peaceful inhabitants. indeed, Tchaikovsky’s symphony—despite the obvious The unhappy protagonist intrudes only once, and then differences between the two works. briefly, on this calm scene, before the recapitulation restores tranquillity. A distant bell ushers in the final The programmatic nature of Manfred is driven home portion of the movement; in the score Tchaikovsky by the recurrent themes appearing in several of the specified that the bell should not be placed in the movements like Berliozian idées fixes or Wagnerian concert hall but in an adjacent room if possible. leitmotifs. The point of the piece is not necessarily to illustrate specific moments in the drama. One can For the last movement, Stasov’s outline envisaged understand it more easily if one keeps the title of a wild orgy in the realm of the evil spirit Ahriman. one of Franz Liszt’s celebrated piano works in mind: Tchaikovsky provided music for the “infernal dance” “After reading Dante.” Similarly, the Manfred (which may have inspired Stravinsky’s Firebird) but Symphony can be seen as a personal reflection on also did much more than that. At one point, the Byron’s drama as a whole, rather than an illustration bacchanal suddenly subsides and Manfred’s theme of specific events in it. appears, no longer as a passing reminder as in the middle movements but with its full tragic weight. The In the first movement, Tchaikovsky mostly avoids the bacchanal resumes in the form of a fugato, combined “allegro” tempo, keeping to “Moderato con moto” and with the Manfred music, and a powerful climax is maintaining an austere, lugubrious tone throughout. reached. A sudden scene change brings Astarte Manfred’s tormented, passionate music is temporarily before us in all her glory; a lush cadenza for two harps relieved by the dream-like vision of Astarte, but the represents this transcendent moment. A grandiose idyll ends in tragedy as the movement concludes restatement of the Manfred theme leads to the final with one of the most shattering climaxes in all of apotheosis, complete with the heavenly sounds of the Tchaikovsky’s works. organ: Manfred has finally found redemption in death. Surprisingly, the opening section of the second- Duration of completed work: 0:56:00 movement scherzo has almost no “theme” in the Last CSO performance(s) of work: 3/9-10/2001 with classical sense to speak of. This music is all orchestral James Paul, conductor color and rhythmic energy. As a complete contrast, the Trio section is ushered in by a graceful melody Notes by Peter Laki played by the first violins accompanied by the harps;

bravo JANUARY/FEBRUARY 2020 14 bravo JANUARY/FEBRUARY 2020 15 bravo JANUARY/FEBRUARY 2020 16 FRIDAY, JANUARY 24, 2020, 7:30 PM SATURDAY, JANUARY 25, 2020, 7:30 PM RUSSIAN WINTER FESTIVAL II: MASTERPIECES OHIO THEATRE Rossen Milanov, conductor • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

SERGE PROKOFIEV Lieutenant Kijé, Op. 60: Suite I. The Birth of Kijé II. Romance III. Kijé's Wedding IV. Troika V. The Burial of Kijé

ALEXANDER BORODIN Prince Igor: Polovtsian Dances I. Dance of the Polovtsian Maidens II. Polovtsian Dance

INTERMISSION

NIKOLAI RIMSKI-KORSAKOV The Golden Cockerel: Suite I. King Dodon at His Palace II. King Dodon on the Battlefield III. King Dodon with the Queen of Chamakka IV. Nuptials and the Deplorable End of Dodon

PIOTR ILYICH TCHAIKOVSKY Overture 1812, Op. 49, (Ouverture solennelle)

THIS CONCERT IS DEDICATED IN MEMORY OF THOMAS AND GEORGIANNA COCHRAN AND MARVIN AND BARBARA EASTER.

ADDITIONAL SUPPORT PROVIDED BY MASTERWORKS HOTEL SPONSOR:

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Lieutenat Kijé Suite, Op. 60 (1933) asked Prokofiev to write the music. The composer, who by Sergei Prokofiev (Sontsovka, Ukraine, 1891 – was living in Western Europe at this time, accepted Nikolina Gora, nr. Moscow, 1953) the offer, and composed the score in Paris during the summer of 1933. The next year he completed a five- Russian writer Yuri Tynianov (1894-1943) found the movement symphonic suite based on the film score, story of Lieutenant Kijé* in an old book of anecdotes making substantial revisions in the music. and recollections from the time of Czar Paul I, who reigned from 1796 to 1801: The composer’s intention was not only to write humorous music for the story of the soldier who never In one of the commands issued by the military, was, but also to evoke the period of Paul I through the scribe split a word in one of the sentences, melodies modelled on traditional Russian romances. beginning the next line with the letters “kizhe.” The original sentence ran like this: “And the From an imaginary cradle to an empty coffin ensigns (práporshchiki-zhe) X, Y, and Z are to be promoted to the rank of second lieutenant.” The The first movement of the concert suite, “The Birth of Czar, running through this command, understood Kijé,” begins with an offstage cornet fanfare, followed “Kizhe,” which was followed by names, to be by the subtle parody of a march, with piccolo, flute, another name. He issued a new command: and military drum. Gradually, the whole orchestra “Second lieutenant Kizhe to be promoted to first joins in a colorful tutti, which suddenly yields to a lieutenant.” The next day he promoted Kizhe sad and soulful Russian tune, introduced by the to second captain, the day after to captain. first flute and the tenor saxophone. This tune, which Before anybody had figured out the mistake, Prokofiev’s Soviet biographer Israel Nestyev called the Czar had promoted Kizhe to the rank of “Lieutenant Kijé’s leitmotif,” will be associated with colonel, and given the order: “Bring him to me the hero throughout the piece, as will the tenor sax. immediately.” Then a frantic search was started The movement ends with the return of the military in all the military documents to locate Kizhe. The march and the cornet fanfare. name showed up in the Apsheron regiment on the Don, and the Czar’s messenger rushed like The second movement (“Romance”) is, according mad to find him. The colonel’s assertion, that to Nestyev, “patterned on ’The Little Gray Dove is there was nobody by the name of Kizhe in the Cooing,” a well-knoen sentimental ballad. As the regiment, startled the entire military leadership. musicologist wrote, “Prokofiev did not use the original They started searching in the orders again and tune, however, but composed a melody of his own finally discovered the initial mistake. In the in the spirit of this popular early nineteenth-century meantime the Czar had been asking whether song.” The melody is first played by a solo double- Colonel Kizhe had arrived, for he wanted to bass, and is later taken over by a solo viola, then promote him to General. But they told him that by the tenor saxophone, two bassoons and the first Colonel Kizhe had died. “Too bad,” Paul said, horn, and finally by the celesta. The keys change “he was a good officer.” abruptly with each repetition, and the accompaniment also varies, lending some special colors to this Apparently, there were many such stories about Czar simple melody. Paul, who was said to be mentally ill. (After a reign of only five years, he was murdered by conspirators who The Czar decides to marry off his favorite soldier to a then placed his son Alexander I on the throne.) lady-in-waiting at court. The third movement (“Kijé’s Wedding”) opens with a pesante (“ponderous”) brass In 1927, Tynianov wrote a brilliant short story about phrase, followed by the happy wedding song, modelled this episode. When six year later the story was being after a children’s round, “O how lovely is the evening, made into a movie, director Alexander Feinzimmer when the bells are sweetly ringing.” As a contrasting middle section, the sad “Kijé leitmotif” is heard on

bravo JANUARY/FEBRUARY 2020 18 PROGRAM NOTES the saxophone, before the wedding song returns with Polovtsian Dances from Prince Igor an even wittier orchestration than the first time. For (1870-1887) symmetry’s sake, the opening brass music also closes By Alexander Borodin (St. Petersburg, 1833 – the movement. St. Petersburg, 1887)

In the fourth movement (“Troika”), a group of drunken Alexander Borodin’s highest ambition was to write an officers is driving in a “three-horse open sleigh” in opera on a historical subject. His friend and mentor, order to fetch Kijé, while singing rowdy songs. “Its the critic Vladimir Stasov, had suggested that he take rapid accompaniment,” Nestyev writes, “colored by on the oldest Russian epic poem, The Lay of Igor’s the percussion instruments, piano, and harp, suggests Campaign (dating from the 12th century). The epic a dashing troika with bells jingling and hoofs clicking.” treated of Prince Igor’s war against the Polovtsians (an Asian people related to the Turks). Borodin worked The fifth movement (“The Burial of Kijé”) opens and on the opera, on and off, for the last twenty years of his closes with the cornet fanfare from the first movement. life, but it was still unfinished at the time of his death. In between, several themes from earlier movements A performing version was later made by his colleagues return as we witness the solemn funeral procession. Nikolai Rimsky-Korsakov and Alexander Glazunov. The Czar, marching with the entire regiment, is the only person who doesn’t know that he is following an It had been difficult for Borodin to find the time to empty coffin. compose, since he had a dual career in music and science, being a professor of chemistry at the Medico- At one point during this movement, the melody of Surgical Academy in St. Petersburg. the second-movement Romance (now in the violins) is heard simultaneously with the wedding song from In Prince Igor, Borodin interwove the political and the third movement (now on the cornet, and twice as military subject matter with a love interest between fast as before). It is as if the whole film of Kijé’s life Igor’s son Vladimir and Konchakovna, the daughter were played back as a summary of his glorious career. of the Polovtsian leader, Khan Konchak. Konchak is When the same melody is played by the trumpet and not an absolute villain; rather, he is a ruthless but the cornet in close succession, we may discover the honest warrior who is capable of treating his enemies difference between the timbres of these two related with honor and dignity. After capturing Igor, the Khan instruments. The wedding melody gradually fades orders his people to entertain his noble prisoner with away, the sad “Kijé leitmotif” is heard one last time song and dance; it is then that the Polovtsian Dances, on a single flute, and then we hear the cornet fanfaret the best-known excerpt from the opera, are performed. from the distance. Kijé is no more. The sequence opens with the seductive dance of a Lieutenant Kijé started what proved to be a brilliant group of young Polovtsian women, followed by the cinematographic career for Prokofiev who, after his dance of the fierce warriors and, finally, by a grand permanent return to the Soviet Union, met the great finale where everyone celebrates and rejoices director Sergei Eisenstein. Together they went on to together. Borodin managed to create an exotic produce two great masterworks: Alexander Nevsky atmosphere without using any actual folklore materials (1938) and Ivan the Terrible (1944). (to which he had no first-hand access). A few isolated Oriental melodic fragments, placed in new contexts, * The name is most frequently spelled in the West the were enough for him to create a convincing illusion of French way, though one occasionally encounters the a pagan culture that, in the opera, was consistently transliteration “Kizhe” as well. opposed to Russian Christianity. Duration of completed work: 0:19:00 Duration of completed work: 0:14:00 Last CSO performance(s) of work: 1/21-22/2011 Last CSO performance(s) of work: 10/30-31/1998 with Peter Wilson, conductor with Alessandro Siciliani, conductor

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Suite from The Golden Cockerel (1907) the great Russian literary classic, as his main source. by Nikolai Rimsky-Korsakov (Tikhvin, Russia, 1844 – But Pushkin himself had drawn on two stories by the Lyubensk, 1908) American writer Washington Irving titled The House of the Weathercock and The Legend of the Arabian The “golden cockerel” in the title is a bird with magic Astrologer, written while Irving was in Spain. (Pushkin properties. It can talk, although it can say only two had read Irving in a French translation.) Belsky also sentences: “Sleep in peace, there is no danger” enriched his libretto with some elements from the and “Awake, the enemy is near!” These words are famous Arabian collection of tales, The Thousand and addressed to a ridiculously stupid totalitarian ruler One Nights. named Czar Dodon, the protagonist of Rimsky- Korsakov’s sixteenth and last opera, written in 1907. All this sounds like an enigmatic but, in the end, The soprano who impersonates the Golden Cockerel harmless, fairytale. Yet in the Russia of 1907, any sings both sentences to the same short melodic story involving the killing of a Czar (who, moreover, is phrase. It is probably the easiest of all operatic roles very unkindly portrayed in the piece) was considered to memorize, though not necessarily the easiest politically suspect. The country had just been through to sing: it requires an unusually strong, “metallic” the bloody revolution of 1905, an unsuccessful first voice—as the composer himself noted in the preface attempt to overthrow the Czar. Rimsky-Korsakov, the to the score. country’s greatest living composer, had expressed his revolutionary sympathies. As a result, he was That “metallic” quality is reinforced by the introduction temporarily dismissed from his professorship at the to the opera, in which the Golden Cockerel’s phrase is St. Petersburg Consevatory, and the Czar for a while played by the trumpet. The music that follows depicts forbade the performance of his works in the capital. the other central character, the Queen of Shemakha, Two years later, the censors objected to certain a mysterious beauty from a distant Oriental country parts in The Golden Cockerel, and when Rimsky- who arrives in Act II in order to seduce Czar Dodon Korsakov refused to make any changes, they blocked and to manipulate him into marrying her, but who in the performance of the opera, which could only be reality only wants to possess the Golden Cockerel. The premiered (with changes) after the composer’s death. sensual clarinet solos and the chromatic melodies, The present suite was compiled from the opera’s filled with “exotic” augmented seconds, all represent score by two of Rimsky-Korsakov’s most prominent the Queen. On the other hand, the theme at the students, Alexander Glazunov and Maximilian Steinberg. end of the introduction (played by the glockenspiel) The four movements of the suite are: Tsar Dodon in belongs to the Astrologer, whose role is small but his palace—Tsar Dodon on the battlefield—Tsar Dodon important. He is the one who gives Czar Dodon the as the guest of the Queen of Shemakha—The wedding magic bird, saying only that he will claim his reward and lamentable end of Dodon. later. During the wedding ceremony of Dodon and the Queen of Shemakha, the Astrologer names his No one was more impressed by the music of prize: he wants the Queen herself. The angry Dodon The Golden Cockerel than Rimsky-Korsakov’s student strikes the Astrologer dead, but is killed in his turn Igor Stravinsky. The lush orchestration and rich by a single violent peck of the Golden Cockerel. (The chromatic harmonies of the opera were a direct Queen then makes off with the bird.) The Astrologer influence on the younger man, who wrote two of his finally comes back to life to reveal that he has been most important early works on folk-tale subjects only a puppetteer, manipulating the other characters— involving magic birds: the ballet The Firebird (1910) except for the Queen, who was the only other “real” and the opera The Nightingale (1908-1914). person, fired by real passions, in the show. Duration of completed work: 0:24:00 The origins of this fantastic opera span three Last CSO performance(s) of work: 10/24-26/2003 continents: Rimsky-Korsakov’s librettist, Vladimir with Keith Lockhart, conductor Belsky, used a fairytale in verse by Alexander Pushkin,

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“1812” Overture, Op. 49 (1880) The Cathedral of Christ the Saviour was being erected by Piotr Ilyich Tchaikovsky (Kamsko-Votkinsk, Russia, 1840 in memory of the Russian victory over Napoleon – St. Petersburg, 1893 in 1812; it was therefore logical that the overture should be based on two emblematic melodies: the Tchaikovsky didn’t particularly enjoy working on the Marseillaise (the French national anthem) and the “1812” Overture. First of all, the work had been Russian hymn “God, Save the Czar.” In addition to commissioned of him and Tchaikovsky didn’t like these two tunes, Tchaikovsky re-used serveral themes to work on command. Even worse, he was asked from earlier works, such as a Russian folksong for to celebrate one of three events: the opening of an piano duet (1869) and a duet from his first opera, elaborate exhibition of arts and industry, the silver The Voyevoda. jubilee of Czar Alexander II, and the consecration of the Cathedral of Christ the Saviour in Moscow. The work opens with the Russian hymn “God, preserve Tchaikovsky, who could summon up little enthusiasm Thy people” played by four solo cellos and two solo for any of the three causes, ultimately chose the violas. Gradually, the entire orchestra joins in, and Cathedral, which at least allowed him to use some the battle between the Russian and the French Orthodox liturgical melodies in his composition. Yet themes begins. Ultimately, the primitive strength of it is clear that he regarded the overture as no more Old Russia triumphs over the sophisticated style of than an occasional piece that failed to stimulate the Western invaders: the Grande Armée is defeated his innermost artistic feelings. Concurrently, he was by heavy artillery and the overture ends in the “very working on his Serenade for Strings (Op. 48), a noisy” manner Tchaikovsky himself described so project that was much closer to his heart. As he wrote disparagingly while he couldn’t wait to go back to work to Mme von Meck: “The overture will be very noisy. on his Serenade for Strings. I wrote it without much warmth or enthusiasm; and therefore it has no great artistic value.” He would be Duration of completed work: 0:16:00 very surprised indeed to find out that more than a Last CSO performance(s) of work: 1/21-22/2011 hundred years after his death, this overture would be with Peter Wilson, conductor one of his most frequently performed works.

Notes by Peter Laki

bravo JANUARY/FEBRUARY 2020 21 bravo JANUARY/FEBRUARY 2020 22 bravo JANUARY/FEBRUARY 2020 23 bravo JANUARY/FEBRUARY 2020 24 FRIDAY, FEBRUARY 21, 2020, 7:30 PM SATURDAY, FEBRUARY 22, 2020, 7:30 PM SAINT-SAËNS ORGAN SYMPHONY WITH CAMERON CARPENTER OHIO THEATRE Rossen Milanov, conductor Cameron Carpenter, organ • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

JOSEPH JONGEN Symphonie Concertante for Organ and Orchestra I. Allegro, molto moderato II. Divertimento, molto vivo III. Molto lento, misterioso IV. Toccata (Molto perpetuo, allegro moderato)

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CAMILLE SAINT-SAËNS Symphony No. 3, Op. 78, C Minor, “Organ Symphony” PART I Adagio - Allegro moderato Poco adagio PART II Allegro moderato - Presto Maestoso - Allegro

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bravo JANUARY/FEBRUARY 2020 25 CAMERON CARPENTER, organ

In 2014, Cameron launched his International Touring Organ—a monumental cross-genre digital organ built by Marshall & Ogletree to his own design—in extensive tours in Europe and the USA. His Sony Music debut album If You Could Read My Mind entered Billboard’s Traditional Classical chart at No. 1 on its U.S. release. A former child prodigy, Cameron Carpenter trained at the American Boychoir School, the North Carolina School of the Arts and has two degrees from The Juilliard School. He

© Courtesy Sony Classical holds the 2012 Leonard Bernstein Award, is the first solo organist ever nominated for a Cameron Carpenter is having a ball smashing GRAMMY® Award for a solo album, and has the stereotypes of organists and organ music, appeared with many of the great orchestras and all the while generating international around the world; he has spoken and debated acclaim and controversy unprecedented in his at think tanks and conferences including TED, field. Cameron’s repertoire—from the complete IdeaCity, The Entertainment Gathering, and works of J. S. Bach to film scores, his original many more. For more information please visit compositions and hundreds of transcriptions . and arrangements—is probably the largest and most diverse of any organist. He is the first ‘concert organist’ in history to prefer the digital organ to the pipe organ, and to champion it as the future of the instrument.

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Symphonie Concertante for Organ and The four-movement work begins with a vigorous Orchestra, Op. 81 (1926-27) orchestral fugato. The organ part alternates between by Joseph Jongen (Liège, Belgium, 1873 – massive chordal passages and lyrical melodic ideas, Sart, Belgium, 1953) often reaching passionate heights of expression. The movement ends with a soft coda where the triads of The French organ renaissance of the 19th century, the woodwinds, moving in parallel motion, give the represented by such great figures as César Franck, music a gentle impressionistic flavor. Charles-Marie Widor and others, had a great impact in neighboring Belgium as well. Franck had originally The second-movement “Divertimento” is mostly in come to Paris from Liège, in what would officially 7/4 time. It contains a second, hymn-like idea in become Belgium a few years after his birth. Joseph a slower tempo, marked “Religioso,” and a third, Jongen was also born in Liège, but unlike Franck, he expansive melody for the solo instrument, placed in a remained in Belgium his entire life (except for the central position. Afterwards, the first two ideas return, years of World War I which he spent in England), and undergoing a number of ingenious transformations became the primary exponent of organ music in his before the arrival of the final coda that, as in the first country. He wrote many solo works for his instrument, movement, remains soft and subdued in character. while also producing a large body of symphonic, vocal, The solo organ finds a sympathetic conversation and chamber compositions. His music was regularly partner in the solo flute. performed by the greatest artists of the day, like Eugène Ysaÿe, Artur Rubinstein and Pablo Casals, and The third movement (“Lento, misterioso”) begins with his own concert tours led him to all the important some sensuous woodwind lines, to which the harp, the musical centers of Europe and the United States. divided strings, and the organ’s “celestial” register soon respond with some beautiful atmospheric harmonies. The Symphonie Concertante for Organ and Orchestra The strings then take over the theme, which evolves was originally written for an American commission from through many luscious key changes until a new, terse the Wanamaker department store in Philadelphia, rhythmic idea takes its place. The tempo increases and which houses a large auditorium with a fine organ the music soon erupts in a sweeping appassionato, designed by George A. Audsley. The organ was rebuilt with organ and full orchestra. After the excitement and enlarged between 1924 and 1928, and Jongen has subsided, the organ begins a songful melody that, was asked to write a new work for the inaugural in its turn, is brought to full orchestral development. concert. Jongen duly finished the Symphonie A brief recapitulation leads to the ethereal conclusion, Concertante, but there were difficulties on both sides with more of those irresistible chord progressions that of the Atlantic. First there was a delay in completing link together remote harmonies in a chain of sonorities the work on the organ; then Jongen’s father fell ill that combine logic and mystery in a captivating way. and passed away. Finally, Rodman Wanamaker, the head of the department store, died suddenly in March The last movement is a “Toccata” in which the soloist, 1928, and his heir cancelled plans for the festive literally, pulls out all the stops. Yet the emphasis is not concert. Jongen was released from his commitment solely on virtuosity; the themes are fiery and exciting, to Wanamaker and was allowed to have his work the harmonies chosen with great care, and the tone premiered in Belgium, which he did early in 1928. of the entire movement is predominantly dramatic. After three movements that ended quietly, the The organ-concerto repertoire was thus enriched by a Toccata concludes on a climactic note, jubilantly and monumental new piece that became a favorite with with high energy. organists all over the world. And with good reason: there are not many works of this kind with the melodic Duration of completed work: 0:36:00 richness, rhythmic excitement, and instrumental CSO Premiere virtuosity of Jongen’s concerto.

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Symphony No. 3 in C minor, Op. 78 and the slow movement constituting the first part, (“Organ,” 1886) and the scherzo with the finale, the second. Moreover, by Camille Saint-Saëns (Paris, 1835 – Algiers, 1921) motivic relationships, sometimes overt, sometimes hidden, pervade all movements so that the entire work With his third symphony, Camille Saint-Saëns set out is extremely rich in internal connections. to write a masterpiece. At 51, he was—and had long been—one of the most famous musicians in France, The main motif on which all four movements are based equally successful as a composer, conductor, pianist, is stated in the opening Allegro moderato, preceded and organist. (For many years he served as the organist by a short introduction. The motif is developed of the Madeleine, one of the landmark churches in extensively, along with a contrasting lyrical idea. It is Paris.) His career had started with the endorsement of in the ensuing Poco adagio that we hear the organ such luminaries as Berlioz, Liszt, and Gounod, and he for the first time. The main motif appears both as had come to be considered a luminary himself. a hymn-like melody and as a fairly conspicuous accompaniment figure. At the same time, he had reason to feel that some of his best efforts in the field of composition were In the Allegro moderato that opens the symphony’s not sufficiently appreciated. He had won great second half (actually, the scherzo, although it is not acclaim for his concertos and other virtuosic pieces. so labeled), we hear new variants of the main motif. However, his symphonic poems, such as Le Rouet The Trio section, in a faster tempo and in C major as d’Omphale (“Omphale’s Spinning-Wheel”), met with opposed to the scherzo’s C minor, is distinguished by little enthusiasm in Paris, and his opera Samson fast piano scales as a special orchestral color. Both and Delilah was premiered, thanks only to Liszt’s the scherzo and the trio are repeated; then a short unflagging support, in Weimar. At home, Saint-Saëns contrapuntal section, based on the main motif, serves found himself locked in a bitter rivalry with César as a transition to the finale, which begins with the lush Franck, his senior by 13 years. He was antagonized sounds of the organ and the piano (four hands). The by Franck’s students, and was increasingly isolated basic idea is now transformed into a solemn chorale in the Société Nationale de Musique (which he and then into a fugue. The work ends with a glorious had founded), a situation that eventually led to his climax, magnificent and majestic in its effect. resignation as the society’s president. Saint-Saëns was well aware of the symphony’s Saint-Saëns, then, wanted to make a major statement, significance as a supreme achievement in his career. and the invitation of the London Philharmonic Society He never attempted to write another symphony; to write a symphony provided just the incentive he instead, he returned to writing operas, concertos, needed. The premiere, conducted by the composer in and chamber music. He wrote about the “Organ” London on May 19, 1886, was greeted by a standing Symphony in later years: “I have given all that I had to ovation, and the first French performance, in 1887, give. What I have done I shall never do again.” was also a success. Duration of completed work: 0:34:00 It was the first time the organ was given a prominent Last CSO performance(s) of work: 1/1-2/2015 with solo in a symphony. This innovation was probably Rossen Milanov, conductor inspired in part by Liszt, who had used the organ in his symphonic poem Hunnenschlacht (“Battle of the Huns”). Saint-Saëns’s method of motivic transformation is also based on a technique first Notes by Peter Laki introduced by Liszt, as is his integration of the movements. The traditional four movements are telescoped into two parts, with the opening Allegro

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FRIDAY, FEBRUARY 28, 2020, 7:30 PM SATURDAY, FEBRUARY 29, 2020, 7:30 PM CHIHULY FESTIVAL: BLUEBEARD’S CASTLE OHIO THEATRE Rossen Milanov, conductor Nancy Maultsby, soprano Mark Schnaible, bass-baritone • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

RICHARD STRAUSS Death and Transfiguration, Op. 24

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BÉLA BARTÓK Bluebeard’s Castle, Sz. 48

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bravo JANUARY/FEBRUARY 2020 33 NANCY MAULTSBY, mezzo-soprano

conducted by Franz Welser-Möst, as well as at Cincinnati Symphony with Louis Langrée in a staging by James Darrah. At the Los Angeles Philharmonic, Ms. Maultsby performed the role of Julia in Lou Harrison’s Young Caesar, a reimagining of the classic piece by Yuval Sharon, which was later released on recording, and Bianca in Boston Lyric Opera’s production of The Rape of Lucretia. Ms. Maultsby also performed Handel’s Messiah with the New Jersey Symphony Orchestra, Mozart’s Requiem with the Indianapolis Symphony and Verdi’s

© Dario Acosta Requiem with the Florida Orchestra, Akron American mezzo-soprano Nancy Maultsby is in Symphony and Eugene Symphony. Ms. demand by opera companies and orchestras Maultsby was also featured in performances throughout the world. Her unique vocal timbre of Beethoven’s Symphony No. 9 with the San and insightful musicianship allow her to Antonio Symphony conducted by Sebastian pursue a repertoire extending from the operas Lang-Lessing, Handel’s Messiah with the of Monteverdi and Handel to recent works by Baltimore Symphony Orchestra under the John Adams. baton of Edward Polochick, as well as a return to Lyric Opera of Kansas City as Ježibaba in Highlights of Nancy Maultsby’s future and Dvorˇák’s Rusalka. recent seasons include performances of Debussy’s Pelléas et Mélisande with the Ms. Maultsby, a North Carolina native, is also Cleveland Orchestra as Geneviève in a new on voice faculty at Baldwin Wallace University semi-staged production by Yuval Sharon, in Berea, Ohio.

bravo JANUARY/FEBRUARY 2020 34 MARK SCHNAIBLE, bass-baritone

and Cedar Rapids Opera Theater; Escamillo in Carmen with New Orleans Opera and the Saarbrücken Radio Symphony Orchestra; Nick Shadow in The Rake’s Progress, Pizarro in Fidelio, Ferrando in Il trovatore, and the title role in Giulio Cesare with Utah Opera; Friedrich in the North American stage premiere of Das Liebesverbot and the Count in Le nozze di Figaro with Glimmerglass Opera; Biterolf in Robert Carsen’s production of Tannhäuser conducted by Seiji Ozawa at Tokyo Opera Nomori; the title role in Sweeney Todd

© Kristin Hoebermann and Scarpia in Tosca with Portland Opera, Described by Das Opernglas as “a strong, rich Dayton Opera, and Shreveport Opera; and and warm-colored voice with assured style,” Méphistophélès in Faust with Shreveport Mark Schnaible joins Indiana University Opera Opera and El Paso Opera. as Klingsor in Parsifal, Arizona Opera for the He is equally at home with the concert Musiklehrer in Ariadne auf Naxos, and sings repertoire, having recently sung Bizet’s Clovis the title role in Bluebeard’s Castle with the et Clotilde with Les Flaneries Musicales de Columbus Symphony in the 2019/20 season. Reims and Jean-Claude Casadesus and in Last season, Mr. Schnaible joined Arizona subsequent performances with the same Opera for Bartolo in Le nozze di Figaro. He conductor and the Orchestre National de recently returned to Oper Leipzig for reprise Lille (released on the Naxos label). Other performances of Pere Joseph in the acclaimed concert performances include Bluebeard’s production of Gounod’s Der Rebell des Königs Castle with Utah Symphony and excerpts (Cinq Mars) and Méphistophélès in Faust, to of Boito’s Mefistofele with Dayton Opera; the roster of the Metropolitan Opera for their Brahms’ Ein deutsches Requiem with the Utah new productions of Guillaume Tell and Lulu, Symphony, North Carolina Symphony, and and to Palm Beach Opera for Musiklehrer in Sioux City Symphony; previous performances Ariadne auf Naxos and the Police Sergeant in of Beethoven’s Symphony No. 9 with Pirates of Penzance. Edo de Waart conducting the Hong Kong Mr. Schnaible’s other recent performances Philharmonic, Jacques Lacombe conducting include Friedrich in Das Liebesverbot and the Lorraine Philharmonic, as well as with the Méphistophélès in Faust with Oper Leipzig Nashville Symphony and Memphis Symphony with repetitions of the latter at the Teatro Orchestra; Verdi’s Requiem with the Orchestre Comunale Bolzano; Orest in Willy Decker’s National d'Île de France; Dvorˇák’s Te Deum production of Elektra with Polish National with the Utah Symphony; Fauré’s Requiem Opera; Der Wanderer in Siegfried with Kent with the Heidelberg Philharmonic and Nagano conducting and the Four Villains Lorraine Philharmonic; and Mendelssohn’s in Les contes d’Hoffmann in a production Elijah with Seiji Ozawa conducting at the directed by Nicholas Joel with Den Nye Opera; Saito Kinen Festival. Jochanaan in Salome with Edmonton Opera

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Tod und Verklärung (“Death and friend and erstwhile mentor, Alexander Ritter, after the Transfiguration”), Op. 24 (1888-89) music had already been written. The work’s underlying by Richard Strauss (Munich, 1864 – Garmisch- idea is explained in a letter written by Strauss in 1894: Partenkirchen 1949) It was six years ago that it occurred to me to present Nothing could have been more “modern” in the music in the form of a tone poem the dying hours of a man of the 1880s and ‘90s than the symphonic poem, that who had striven towards the highest idealistic aims, bold attempt to create drama without words and to test maybe indeed those of an artist. The sick man lies in music’s expressive powers to the fullest. Pioneered by bed, asleep, with heavy irregular breathing; friendly Franz Liszt from the 1850s on, the new genre found a dreams conjure a smile on the features of the deeply practitioner of genius in the young Richard Strauss. In a suffering man; he wakes up; he is once more racked series of orchestral works that established him as one with horrible agonies; his limbs shake with fever—as of the leading avant-gardists of the day, Strauss did the attack passes and the pains leave off, his thoughts not hesitate to tackle in his music the most complex wander through his past life; his childhood passes literary and philosophical topics possible. Although before him, the time of his youth with its strivings some have continued to maintain that music is and passions and then, as the pains already begin incapable of handling such topics, Strauss’s openness to return, there appears to him the fruit of his life’s to extra-musical ideas couldn’t help but have an path, the conception, the ideal which he has sought indelible impact. Works that sound like Don Juan, to realize, to present artistically, but which he has Death and Transfiguration or Also sprach Zarathustra not been able to complete, since it is not for man to would be unthinkable without programmatic thinking. be able to accomplish such things. The hour of death There may be traces of classical forms in each of these approaches, the soul leaves the body in order to find works, but “Symphonies in C major” (or any other key) gloriously achieved in everlasting space those things they are certainly not: their unique musical features which could not be fulfilled here below. simply could not exist without the ideas reflected in their titles. An ambitious program, and it is certainly remarkable that a young man barely 25 years old should have had Strauss ended his magnificent series of tone poems such a highly developed image of death and dying. with Ein Heldenleben (“A Hero’s Life”) in 1899, but in What is even more astonishing is the unerring instinct a sense, all his symphonic poems are “heroes’ lives.” with which Strauss realized his concept. Melodic The youthful, reckless, yet at the same time profoundly material, orchestration, and musical form are all world-weary Don Juan; Till Eulenspiegel, who pays for uniquely suited to express that concept; for no matter his mischief-making with his life; Don Quixote, who what the “anti-expressivists” say, Strauss undoubtedly loses his battle against the windmills—they all have did full justice to his subject here. one thing in common: each confronts the entire world all by himself, to be defeated in the physical sense but The stages of the hero’s last hours, as Strauss triumphing in spirit. described them in his letter, are somewhat analogous to the phases of anger, denial, and acceptance found The same can be said of the unnamed but certainly in Elisabeth Kübler-Ross’s famous (and, of course, exceptional dying artist in Strauss’s third tone poem, much later) book on dying. After some introductory Death and Transfiguration. (It was preceded by Aus measures (“Largo”) in which the strings’ rhythmic Italien and Don Juan; Macbeth, begun earlier than figure seems to imitate an irregular heartbeat, the Death and Transfiguration, was only completed woodwinds, accompanied by the harp, intone a later.) Here Strauss dispensed with literary sources melody of unspeakable sadness, followed by the main altogether; instead, he created an original conception lyrical idea of the work, based on a descending scale that received its literary formulation from Strauss’s and played by a solo violin. In the ensuing “Allegro molto agitato,” violent suffering erupts; as Norman

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Del Mar writes in his three-volume study of Strauss’s tradition (or even several separate traditions) of tales life and music, “the ill man can be heard writhing in about wife-killers, forbidden rooms, and tests of love. agony.” The lyrical melody returns, this time played by By the time Béla Balázs came along, the story had the flute, evoking peaceful memories. But the theme been treated numerous times in short stories, plays soon becomes agitated again, to express both past and even operas, sometimes in a heroic vein and and present turmoil; as in Don Juan, Strauss endows sometimes with a comic spin. Balázs (1884-1948), a the traditional formal device of recapitulation with poet and playwright steeped in French Symbolism and intense dramatic meaning. A sweeping new idea, the the neo-classical German tragedies of Friedrich Hebbel “transfiguration” theme, appears in this section. After (later also a noted authority on film), approached the all the other themes—those associated with turmoil, subject from a completely new angle. He conceived his memories, and irregular heartbeat—have been Bluebeard as a “mystery play” about the relationship revisited and left behind, the “transfiguration” theme between man and woman, combining psychological takes over completely, to give the piece its radiant and insight with the tone of ancient balladry. justly celebrated ending. Balázs’s work—first published as a verse drama but According to the often-repeated story, when Richard intended as an operatic libretto from the start—lacks Strauss lay dying in 1949 (exactly 60 years after a dramatic plot in the conventional sense. The two writing this work), he said to his daughter-in-law: characters are onstage the entire time; there are no “Funny thing, Alice, dying is just the way I composed entrances or exits that usually break up operas and it in Death and Transfiguration.” Strauss had in fact plays into separate scenes. The whole action consists set to music that “white light” that many people have of Judith entering the castle, and opening, one by mentioned when speaking of near-death experiences. one, its seven doors, which symbolize a whole lifetime If he had done nothing else in life, this in itself would of experiences, the last one standing for eternal have been enough to make him immortal. night. As the prologue suggests, the stage is really “inside:” the woman struggles to become the man’s Duration of completed work: 0:24:00 partner in a psychological sense, but this turns out Last CSO performance(s) of work: 9/26-27/2003 to be impossible. with Michael Stern, conductor Balázs initially proposed the libretto to his close friend Duke Bluebeard’s Castle (1911) and former college roommate Zoltán Kodály who, by Béla Bartók (Nagyszentmiklós, Hungary (today Sînnicolau however, was not attracted to the deeply pessimistic Mare, Romania, 1881 – New York, 1945) tone of the libretto. Bartók, on the other hand, found it entirely congenial and set it to music between March The opera Bluebeard’s Castle opens with a spoken and September of 1911—just in time to enter it in an prologue in the style of ancient Hungarian minstrels opera competition where it was roundly rejected by and storytellers. It contains the following lines: “Is the the jury as unplayable. Bartók had to wait seven years stage inside, is it outside, my lords and fair ladies?” before his opera—the only one he would ever write— Indeed, the castle we enter as the deep strings begin was staged. Even then, the Hungarian musicians to play the somber introduction turns out to be a resisted Bartók’s music and the premiere was only symbol of the “inside,” the deep recesses of the possible because of the tireless efforts of a visiting human soul, the real scene for the tragic battle of the Italian conductor, Egisto Tango. Another factor that sexes which is the subject of the opera. helped Bluebeard was Bartók’s ballet The Wooden The Bluebeard legend has a literary history going Prince, a much gentler score written in 1916 and back many centuries. The first printed version, in premiered in 1917. The ballet opened the doors of Charles Perrault’s collection Ma Mère l’Oye (“Mother the Royal Hungarian Opera for Bluebeard when both Goose,” 1697), was based on a much earlier medieval works were presented as a double bill, under Tango’s direction, in 1918.

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When the curtain rises, we find ourselves in “a vast, Behind each of the first five doors, Judith notices circular, Gothic hall. Steep stairs at left lead up to stains of blood on everything: the weapons, the jewels, a small iron door. To the right of the stairs seven even the clouds in the sky cast blood-colored shadows. enormous doors....No windows, no ornamentation. The From here, the descent into tragedy is a rapid one. hall is empty, dark, and forbidding like a cave hewn in Bluebeard gives Judith the last two keys only with the the heart of solid rock.” As Bluebeard ushers Judith into greatest reluctance. As the sixth door opens on the his castle, the music makes us see the dark domain lake of tears, the castle becomes noticeably darker through the eyes of the unsuspecting victim who left again. And by the time the seventh door opens and behind an ordinary and happy existence (parents, Bluebeard’s three former wives appear, to be inevitably brother, fiancé) to follow the enigmatic Duke. joined by Judith as the fourth and last woman, the hall is again shrouded in total darkness. Judith disappears Each of the castle’s seven doors conceals a different behind the door, and Bluebeard stays behind, doomed aspect of Bluebeard’s world. The Duke surrenders the to eternal solitude. first five keys willingly, and as the doors open one after another, beams of light begin to illuminate the Bluebeard’s Castle was a major breakthrough in castle. The first two doors—the torture chamber and Bartók’s artistic evolution. His largest composition the armory—represent the aggressive side of the to date, it represents a synthesis of all the major male personality, the next two—the treasury and the concerns he had had as a composer reaching maturity flower garden—symbolize its poetic aspect. When during the previous decade. The influence of Debussy, the fifth door opens, Bluebeard’s entire universe received during several visits to Paris, is evident from is revealed in all its splendor. The scene of the fifth the opening (which seems to be a Hungarian folk door is the musical and emotional climax of the version of the introduction to Pelléas et Mélisande). entire opera. (Since the work begins and ends in the Just as Debussy had transformed the melody of key of F sharp, it is noteworthy that this passage is spoken French into music in Pelléas, Bartók strove in C major—the greatest possible distance from F successfully to do the same in Hungarian, aided by sharp, the opposite pole on the tonal spectrum.) This his discovery of old Hungarian folk music. The original climactic moment, however, is also the beginning combination of ancient Hungarian and modern French of the end: Judith is completely overwhelmed by elements gives Bluebeard a unique character. But the vastness of Bluebeard’s world. The contrast questions of national identity aside, the opera broke between the full orchestral sound (including organ new ground as a fascinating musical psychodrama and offstage brass) accompanying Bluebeard and and gave rise to many different interpretations without Judith’s unaccompanied, shy vocal line shows the ever yielding all its secrets. irreconcilable polarity of the two characters, and also the impossibility of all understanding between them. Duration of completed work: 0:59:00 CSO Premiere

Notes by Peter Laki

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

HONORARY TRUSTEES Ronald A. Pizzuti Zuheir Sofia

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

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

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

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

bravo JANUARY/FEBRUARY 2020 46 FUTURE. INSPIRED.

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

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

CORPORATE AND FOUNDATION PARTNERS

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

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

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

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

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

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

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

TRIBUTE GIFTS

The following donors have made contributions to the Columbus Symphony in honor or in memory of a friend or loved one between September 1, 2018 and December 15, 2019. For questions about making a gift in honor or in memory of someone, please contact the Development Office at (614) 221-6016.

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

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

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

bravo JANUARY/FEBRUARY 2020 55 LEGACY SOCIETY

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

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

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

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

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

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