sign in sign up
<<
Home , Fish in the Dark, Jason Alexander, Reprise Theatre Company, Rossen Milanov

A Message from the Chair of the Board of Trustees 5 2018-2019 Musician Roster 7 MARCH 29-30 9 Mozart: Requiem APRIL 5-6 23 The Trumpet Shall Sound APRIL 27 31 An Evening with MAY 3-4 37 Mahler Five Board of Trustees/Administration 45 of the Columbus Symphony 46 Columbus Symphony League 47 Partners in Excellence 48 Corporate and Foundation Partners 48 Individual Partners 49 In Kind 52 Did You Know? Tribute Gifts 52 Young people who participate in the arts for at least three hours on three days each week through at least one full year are: Legacy Society 55 • 4 times more likely to be Future Inspired 56 recognized for academic achievement • 3 times more likely to be elected to Concert Hall & Ticket Information 58 class office within their schools • 4 times more likely to participate in a math and science fair • 3 times more likely to win an award for school attendance • 4 times more likely to win an award for writing an essay or poem

ADVERTISING Onstage Publications 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com The Columbus Symphony program is published in association with Onstage Publications, 1612 Prosser Avenue, Dayton, Ohio 45409. The Columbus Symphony program may not be reproduced in whole or in part without written permission from the publisher. Onstage Publications is a division of Just Business!, Inc. Contents © 2019. All rights reserved. Printed in the U.S.A. bravo MARCH/APRIL/MAY 2019 4 A MESSAGE FROM THE CHAIR OF THE BOARD OF TRUSTEES

Dear Columbus Symphony Supporter,

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

We end March with Mozart: Requiem (March 29 & 30, Ohio Theatre), featuring a talented quartet of vocalists and the wonderful Columbus Symphony Chorus. Rossen Milanov conducts this haunting and enigmatic masterpiece, which is preceded by a unique composition by Mason Bates.

Following in April is The Trumpet Shall Sound (April 5 & 6, Ohio Theatre), where George Goad makes his Columbus Symphony solo debut alongside rising-star pianist Dominic Cheli in Shostakovich’s concerto for piano, trumpet, and string orchestra. Also part of this program of iconic 20th century works are Janácˇek’s Sinfonietta and Stravinsky’s The Fairy’s Kiss: Divertimento.

Bringing April to a close is our final Pops concert of the season, An Evening with Jason Alexander (April 27, Ohio Theatre), featuring the Tony Award-winning Broadway song-and-dance man, who of course is also world-renowned as the iconic on . This evening of music, laughter, and fun brings a hilarious re-telling of his journey to and on the Broadway stage, combining a program of great music from the theatre with comedy and audience interaction.

The Masterworks grand season finale is Mahler Five (May 3 & 4, Ohio Theatre), a life-changing experience of Mahler’s most popular symphony. This spectacular performance of Symphony No. 5 will open a world full of beauty, love, nostalgia, and divine exuberance. The program also features violinist Leila Josefowicz as she returns to Columbus to perform Ades’ Violin Concerto “Concentric Paths.”

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

Please enjoy tonight’s performance!

Sincerely,

Lisa Barton Chair, Columbus Symphony Board of Trustees

bravo MARCH/APRIL/MAY 2019 5 bravo MARCH/APRIL/MAY 2019 6 2018/2019 MUSICIAN ROSTER

Rossen Milanov, Music Director Andrés Lopera, Assistant Conductor Ronald J. Jenkins, Chorus Director VIOLINS VIOLONCELLOS CLARINETS TUBA Joanna Frankel Luis Biava David Thomas James Akins Concertmaster Principal Principal Principal Jack and Joan George Chair Andy and Sandy Ross Chair Rhoma Berlin Chair Leonid Polonsky Wendy Morton Mark Kleine TIMPANI Associate Concertmaster Assistant Principal Paul Bambach Gay Su Pinnell Chair Benjamin Ramirez David Niwa Principal Assistant Concertmaster **Marjorie Chan BASS CLARINET American Electric Power Alicia Hui Pei-An Chao William Denza Foundation Chair Principal Second Mary Davis Martin and Sue Inglis Chair Victor Firlie Rhonda Frascotti BASSOONS PERCUSSION Assistant Principal Second Tom Guth Betsy Sturdevant Philip Shipley Mary Jean Petrucci Mark Kosmala Principal Principal **Mikhail Baranovsky Sabrina Lackey Sheldon and Rebecca Taft Chair Jack Jenny Jeffrey Singler Douglas Fisher Brian Kushmaul Michael Buccicone Cynthia Cioffari Leah Goor Burtnett Cameron Leach Amber Dimoff BASSES William Lutz David Edge Rudy Albach CONTRABASSOON Principal Cynthia Cioffari Robert Firdman Nationwide Chair HARP Joyce Fishman John Pellegrino Rachel Miller Erin Gilliland Assistant Principal HORNS Symphony League Chair Kirstin Greenlaw ** Skip Edwards Brian Mangrum Jeanne Norton Gyusun Han James Faulkner Principal Julia Rose PIANO/CELESTE Tatiana V. Hanna Russell Gill Associate Principal Jena Huebner Caroline Hong Rachel Huch Adam Koch Reinberger Foundation Chair Heather Kufchak Jean-Etienne Lederer Colin Bianchi William Manley Jon Pascolini Amy Lassiter KEYBOARDS Aurelian Oprea Kimberly McCann Gail Norine Sharp FLUTES Kimberly Russ Megan Shusta Mariko Kaneda Ariane Sletner Niles Watson Charles Waddell Zoran Stoyanovich Principal Anna Svirsky Heidi Ruby-Kushious *Genevieve Stefiuk TRUMPETS * Indicates musician on Elaine Swinney Daniel Taubenheim David Tanner Janet van Graas leave during the 2018– Lori Akins Jeffrey Korak 2019 Season Jonquil Thoms Lisa and Chris Barton Chair Olev Viro PICCOLO Gary Davis Manami White ** Begins the alphabetical Janet van Graas Brian Buerkle listing of players who Tom Battenberg VIOLAS Lori Akins participate in a system of rotated seating within the Karl Pedersen TROMBONES Principal OBOES string section. Gay Su Pinnell Chair *Stephen Secan Andrew Millat Principal Brett Allen Principal KEYBOARD Assistant Principal Nathan Mills Richard Howenstine **Leslie Dragan Assistant Principal David Roode TECHNICIAN Dee Dee Fancher Robert Royse Doug Brandt Mary Ann Farrington Jessica Smithorn BASS TROMBONE Kenichiro Matsuda Lisa Grove Joseph Duchi LIBRARIANS Patrick Miller Jean-Etienne Lederer Chris Saetti ENGLISH HORN Principal Librarian Christina Saetti Robert Royse Elizabeth Graiser Ann Schnapp Steven Wedell The Musicians of the Columbus Symphony are members of, and represented by, the Central Ohio Federation of Musicians, Local 103 of the American Federation of Musicians.

bravo MARCH/APRIL/MAY 2019 7 bravo MARCH/APRIL/MAY 2019 8 FRIDAY, MARCH 29, 2019, 8:00 P.M. SATURDAY, MARCH 30, 2019, 8:00 P.M. MOZART: REQUIEM OHIO THEATRE Rossen Milanov, conductor Alexandra Nowakowski, soprano Hannah Ludwig, mezzo soprano Roy Hage, tenor Adam Cioffari, bass-baritone Columbus Symphony Chorus Ronald Jenkins, chorus director • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • MASON BATES Auditorium INTERMISSION WOLFGANG AMADEUS MOZART Requiem, K. 626 Completed by Süssmayr I. Introitus - Requiem II. Kyrie III. Sequenz Dies irae Tuba mirum Rex tremendae Recordare Confutatis Lacrimosa IV. Offertorium Domine Jesu Hostias V. Sanctus VI. Benedictus VII. Agnus Dei VIII. Communio - Lux aeterna Alexandra Nowakowski, soprano Hannah Ludwig, mezzo soprano Roy Hage, tenor Adam Cioffari, baritone Columbus Symphony Chorus WE ARE HONORED AND PROUD TO DEDICATE THIS CONCERT IN THE MEMORY OF LONG TIME SYMPHONY SUPPORTER AND FRIEND, ANNE MELVIN. ADDITIONAL SUPPORT PROVIDED BY MASTERWORKS HOTEL SPONSOR: ROSSEN MILANOV, conductor

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

Internationally, he has collaborated with BBC Symphony Orchestra, Orchestra de la Suisse Romand, Rotterdam Philharmonic, Aalborg, Latvian, and Hungarian National Symphony Orchestras, Slovenain Radio Symphony Orchestra, and the orchestras in Toronto, Vancouver, KwaZulu-Natal Philharmonic (South Africa), Mexico, Colombia, Sao Paolo, Belo Horizonte, and

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

bravo MARCH/APRIL/MAY 2019 10 ALEXANDRA NOWAKOWSKI, soprano

Polish-American soprano Alexandra Nowakowski, praised for her “crystalline tone,” is a graduate of the Academy of Vocal Arts in . In the 2017- 18 AVA season, she debuted Zerbinetta (Ariadne auf Naxos) and Freia (Das Rheingold). Other roles at AVA include Lucia (Lucia di Lammermoor), Pamina (Die Zauberflöte), Sophie (Werther), Zerlina (Don Giovanni), and Musetta (La bohème). She was the Soprano I soloist in the Bach B Minor Mass with the Bach Society Houston, and the soprano soloist in Carmina Burana with the Philadelphia Youth Orchestra. Alexandra is the second prize winner of the Gerda Lissner Lieder/Song Competition, first prize winner of the Gerda Lissner Foundation Competition, first prize winner of the Violetta DuPont Competition, and fourth prize winner in the Giulio Gari Foundation Competition. Alexandra is a student of Bill Schuman.

HANNAH LUDWIG, mezzo-soprano

in Alcina with NAPA Music Festival. This summer she makes her Carnegie Hall debut with Mid America Productions in the Requiem for The Living, as well as Sesto in Mozart’s La Clemenza di Tito at the Aspen Music Festival, conducted by Jane Glover. This season includes performances of Handel’s Messiah with the Baltimore Symphony, Mozart’s Requiem with the Columbus Symphony, and a debut at the new Festival Teatro Nuovo as Isaura, conducted by Will Crutchfield. Future engagements include her Dallas Opera debut as Third Lady in The Magic Flute.

Miss Ludwig has achieved numerous awards and recognitions through several competitions. In the spring of 2016 she received encouragement awards Mezzo-soprano Hannah Ludwig is currently in her from the Gulf Coast Regional of the Metropolitan Opera fourth year at the Academy of Vocal Arts in National Council Auditions and the Licia Albanese- Philadelphia, PA., where she has recently performed Puccini International Vocal Competition. She is also the role of Charlotte in Werther, Isabella in L’italiana a Grant winner of the Giulio Gari Vocal competition. in Algieri, Frugola in Il Tabarro, and Siebel in Faust. She was a two-year finalist in the Tier II Category of Engagements last season at AVA included Maddalena the Inaugural James Toland Vocal Competition in in Rigoletto and Third Lady in The Magic Flute. Oakland, CA. Recently she has also performed Ursule in Berlioz’s Beatrice et Benedict and Third Lady in Mozart’s Ms. Ludwig received her Bachelor of Music degree in The Magic Flute at the Aspen Music Festival; Meg vocal performance from the University of the Pacific Page in The Merry Wives of Windsor, Third Lady in under Professor Burr Phillips. She also received The Magic Flute, and Jenny Diver in The Threepenny training from the Taos Opera Institute, Napa Music Opera with Pacific Opera Theatre; Prince Orlofsky in Festival, and Classical Lyric Arts in France. Hanna Die Fledermaus with Stockton Opera; and Ruggiero currently studies at AVA with Bill Schuman.

bravo MARCH/APRIL/MAY 2019 11 ROY HAGE, tenor

Glover, Christofer Macatsoris, James Gaffigan, Jacques Lacomb, and Stephen Lord. He has also performed with opera companies such as Opera Philadelphia, Santa Fe Opera, Opera Theatre of Saint Louis, Miami Music Festival, Aspen Musical Festival, Chautauqua Music Festival, Yale Opera, Curtis Opera Theater, Oberlin Opera Theater, and Academy of Vocal Arts.

An advocate of the commissioning and promoting of new music, Roy has performed in premieres of a number of works, including Stephen Stucky’s The Stars and the Roses for tenor and chamber ensemble, the roles of Horus/The Beloved in David Hertzberg’s The Rose Elf, the world premieres of Tony Lebanese-American tenor Roy Hage is a two-time Solitro’s More Beautiful Than Night, Kurt Rohde’s Grammy nominated artist who has performed over Three Minutes with Ned for tenor and piano, Jonathan forty roles, including the Duke (Rigoletto), Nemorino Bailey Holland’s Must All Then Amount to But This, (L’elisir d’amore), Alfredo (La Traviata), Tamino Peter Ash’s opera The Golden Ticket, Jennifer Higdon’s (The Magic Flute), Le Chevalier des Grieux (Manon), opera Cold Mountain, and theEast Coast premiere of Ruggero (La Rondine), Judge Danforth (The Crucible), Theodore Morrison’s Oscar. Der Tenor (Ariadne auf Naxos), Jeník (The Bartered Bride), Ein Italienischer Sänger (Capriccio), Chevalier Roy’s two Grammy nominations are for his appearance de la Force (Dialogues des Carmélites), and the as a Solo Artist in the Pentatone Recording of the title roles in The Tales of Hoffmann, The Rake’s Santa Fe world premiere of Cold Mountain, where Progress, Candide, La Clemenza di Tito, and Pelléas he created the roles of Reid and Home Guard. Roy and Melisande. also brought the role of Reverend Veasey to life in the 2012 and 2013 workshops of the opera at Curtis Roy Has performed with orchestras including the Institute of Music for Opera Philadelphia and Santa Philadelphia, Santa Fe, and Cleveland Orchestras, Fe Opera. the Saint Louis and New Jersey Symphonies, Chamber Orchestra of Philadelphia, Symphony in C, Roy is currently a third-year Resident Artist at Academy and CityMusic Cleveland, among others, with of Vocal Arts (AVA) where he is a student of the noted conductors including Yannick Nezet-Seguin, Rossen voice teacher Bill Schuman. Prior to joining the roster Milanov, Caren Levine, Sir Richard Bonynge, Vladimir at AVA, Roy completed his training at Interlochen Ashkenazy, David Robertson, George Manahan, Jane Arts Academy.

bravo MARCH/APRIL/MAY 2019 12 ADAM CIOFFARI, bass-baritone

Symphony, Pensacola Opera, Florentine Opera, and as the Musiklehrer in Ariadne auf Naxos at The Glimmerglass Festival. Recent debuts include the Los Angeles Philharmonic and the Theatre Capitole de Toulouse. Future engagements include return appearances with the Columbus Symphony and Queen City Opera.

He recently joined the Staatstheater Stuttgart for a year for a number of roles, including Patrocle in Gluck’s Iphigenie en Aulide and the High Priest of Baal in Nabucco. He joined Komische Oper Berlin as a member of its studio from 2010-2012. A former member of the Houston Grand Opera Studio, he created the role of Stanley in the world premiere of Bass-baritone Adam Cioffari recently sang the role of Andre Previn’s Brief Encounter, a recording of which Papageno in Die Zauberflöte in a return to the Teatro has been released on the Deutsche Grammophon Municipal de Santiago as well as the role of Figaro label. Other performances with the include in Le nozze di Figaro with Opera Columbus, Colline Elviro in Xerxes, both Angelotti and the Jailer in in La bohème with Knoxville Opera, and Masetto Tosca, and Snug in A Midsummer Night’s Dream. in Don Giovanni with Austin Opera and Salt Marsh Other recent performances include Leporello in Opera. This past summer, he appeared with Pittsburgh Don Giovanni with the Music Academy of the West, Festival Opera as Judge Turpin in . He Masetto in the same opera with San Francisco Opera’s also sang the Commentator in the world premiere of Merola Opera Program, and Colline in La bohème with Wang’s Scalia/Ginsburg at the Castleton Festival. He Aspen Opera Theater. has performed with the Utah Symphony and Tucson RONALD J. JENKINS, chorus director

From September 1973 until January 2019, he served as the Minister of Music and Liturgy of the 3,400 member First Community Church in Columbus. In that position, he was responsible for two choirs, a staff of singers, conductors and organists, the church’s concert series, and coordinated worship/liturgy, art enrichment, and special events, including the annual fall services of music and the word, Soli Deo Gloria, the Festival of Lessons and Carols on Christmas Eve, and the season concluding “MorningSong,” all with choir and members of the CSO and CSC. He directed the Chancel Choir on three European tours, at the National Cathedral in DC and the Chamber Singers in Naples, Florida. On the third European tour in June of A native of St. Louis, Ronald Jenkins has been 2013, he led the choir in concerts in Berlin, Leipzig, conductor of the Columbus Symphony Chorus and Dresden, Prague, and Salzburg, gaining rave reviews Chamber Chorus since 1982. He conceived the idea for their performance of Mozart’s Missa Longa with for the CSO’s popular Holiday Pops concerts and has the Salzburg Cathedral orchestra. He produced and conducted those annual performances since their directed eight recordings of the Chancel Choir and beginning in 1983. In 2010, he conducted the CSO’s demonstrated his piano keyboard skills in a popular first complete performances of Handel’s Messiah, duo recording of Gospel Hymns with retired CSO which were lauded for their “quick pacing and trumpeter Tom Battenberg. brisk tempos” and the chorus, which “was superbly balanced and in tune and obviously well-rehearsed He has served as the Assistant Choral Director at and confident.” He also prepared the chorus for their Washington University, visiting Choral Director at Carnegie Hall debut with the CSO in the spring of Denison and Ohio Wesleyan Universities, and led 2001, where the New York critics praised the “choral choral workshops for Trinity Seminary and various singing of impeccable realization and subtle shading.” professional organizations. He holds degrees from William Jewell College and Florida State University. This season he has prepared the chorus for the He has also done extensive post-graduate study at triumphant performances of the Leonard Bernstein Washington University, and studied conducting at the Centennial Celebration, the Chamber Chorus for Tanglewood Music Festival. In 1985, he received the Handel’s Messiah, and Mozart’s Requiem, all under Columbus Dispatch Community Service Award for the Rossen Milanov’s direction. Jenkins also prepared Advancement of Culture. In May 2015, he was granted the chorus and orchestra and conducted four the Honorary Doctor of Divinity degree from Trinity performances of the 35th annual Columbus favorite, Seminary in Bexley, Ohio. Holiday Pops. Ronald J. Jenkins / Director The Columbus Symphony Chorus

bravo MARCH/APRIL/MAY 2019 14 COLUMBUS SYMPHONY CHORUS

The Columbus Symphony Chorus, in its 58th season, Mass; Haydn’s Lord Nelson and Harmonie Mass; continues to excel under the direction of Ronald Haydn's Creation and the Seasons; works by Rossini, J. Jenkins. Under his leadership for the past 36 Orff, Walton, Britten, and Prokofiev; and concert years, the Chorus has grown both in the quality performances of , including, Bizet’s Carmen. of its performances and in the diversity of its In 2013 the chorus premiered Stephen Paulus’ classical repertoire. “Of Songs and Singing,” conducted by Jenkins and commissioned by the chorus to honor his 30+ years The 140-member Chorus, comprised entirely of of service. In addition to their classical concerts, the volunteer singers from central Ohio, performs major Chorus’s annual Holiday Pops concerts, conceived works from Bach through the 21st century. Past and directed by Jenkins from their beginning in performances have included the requiems of Brahms, 1983, have grown into one of the best-loved musical Verdi, Fauré, Mozart, and Duruflé; the Bach B Minor traditions in the central Ohio area. Mass; Mozart's Grand Mass in C Minor and Coronation

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

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

bravo MARCH/APRIL/MAY 2019 15 PROGRAM NOTES

Auditorium (2016) From the Sanctus on, probably none of the music by Mason Bates is by Mozart, except for the last movement. The (b. Richmond, VA, 1977) Communion “Lux aeterna” repeats the music of the opening Introit and Kyrie movements, probably at Mason Bates—a composer who has also worked as an Mozart’s suggestion. electronic DJ and who was named Musical America Composer of the Year in 2018—has provided the The most crucial part of the Requiem is the Sequence, following notes on Auditorium: which Mozart set as a cantata in six movements, with chorus and solo voices alternating. After the Premiered with the San Francisco Symphony, powerful “Dies irae,” the wondrous sound of the Auditorium is a baroque thriller that haunts the trumpet on Judgment Day is represented by a solo orchestra with ghostly processed recordings of trombone (one of the earliest great trombone solos a baroque ensemble, with the electronic part in the literature). Each of the four soloists voices comprise entirely of original neo-baroque music different feelings about the Day of Wrath before recorded on period instruments. Essentially it is a they join together as a quartet. Throughout the work for two orchestras—one live, one dead. sequence, the monumental aspect of the Judgment is expressed by the chorus while the soloists give Duration of completed work: 0:15:00 voice to the anguish of the individual soul. The Last CSO performance(s) of work: CSO premiere Sequence culminates in the Lacrimosa—a gripping lament for humanity at the moment when its fate is about to be decided. Requiem, K. 626 (1791) by Wolfgang Amadeus Mozart In the Offertory, Mozart paints the horrors of hell and (Salzburg, 1756 – Vienna, 1791) the attainment of eternal light in equally vivid colors; the promise made to Abraham is represented by a According to the familiar story, Mozart in the fall magnificent choral fugue. of 1791 received a commission from an Austrian aristocrat, who didn’t reveal his identity to him, to In the following “apocryphal” movements Süssmayr write a Requiem in memory of the aristocrat’s wife. did his best to prevent the intensity of the music Mozart left the work unfinished at the time of his from flagging; he mostly succeeded, aside from just death; the Requiem was subsequently completed by a few awkward moments that, however, have become his student Franz Xaver Süssmayr. almost hallowed by more than 200 years of performing history. (In the last decades, several new editions How much of the Requiem, as we know it from have appeared, offering alternative solutions.) the Süssmayr version, is actually Mozart’s work? Definitely by him are: the first-movement Introit, the Mozart, who fell ill during the composition of the vocal parts and bassline of the Kyrie fugue, most of Requiem, may have felt he was writing it for his own the Sequence (Dies irae, Tuba mirum, Rex tremendae, funeral. Yet at the same time the work was in many Recordare, Confutatis, and the Lacrimosa which ways a new beginning: it contains many stylistic breaks off after the eighth measure), as well as the elements that Mozart would no doubt have developed Offertory (Domine Deus and Hostias). The Sanctus, further, had he not died just weeks before his 36th Benedictus and Agnus Dei were scored by Süssmayr, birthday. Baroque counterpoint meets an almost though Mozart may have played or sung some of the Romantic sensitivity here in a completely novel way, music to Süssmayr to show how he wanted it to go. but it was left to others to draw the consequences.

bravo MARCH/APRIL/MAY 2019 16 PROGRAM NOTES

I. Requiem

Requiem aeternam dona eis, Domine, Give them eternal rest, o Lord, et lux perpetua luceat eis. and let perpetual light shine upon them. Te decet hymnus, Deus in Sion, A hymn, o God, becomes You in Zion, et tibi reddetur votum in Jerusalem. and a vow shall be paid to You in Jerusalem. Exaudi orationem meam, Hear my prayer, ad te omnis caro veniet. all flesh shall come to You. Requiem aeternam dona eis, Domine, Give them eternal rest, o Lord, et lux perpetua luceat eis. and let perpetual light shine upon them.

II. Kyrie

Kyrie eleison. Lord, have mercy. Christe eleison. Christ, have mercy. Kyrie eleison. Lord, have mercy,

III. Sequence

1. Dies irae

Dies irae, dies illa, The day of wrath, that day, solvet saeclum in favilla, will dissolve the world in ashes, teste David cum Sibylla. as prophesied by David and the Sibyl.

Quantus tremor est futurus, How great a trembling there shall be quando judex est venturus, when the Judge shall appear cuncta stricte discussurus. and separate everything strictly.

2. Tuba mirum

Tuba mirum spargens sonum, The trumpet, sending its wondrous sound per sepulchra regionum, throughout the tombs of every land, coget omnes ante thronum. will summon everyone before the throne.

Mors stupebit et natura, Death and Nature will be stupefied, cum resurget creatura, when all creation rises again judicandi responsura. to answer Him who judges.

Liber scriptus proferetur, A book will be brought forth in quo totum continetur, in which everything will be contained, unde mundus judicetur. by which the world will be judged.

Judex ergo cum sedebit, When the Judge takes His place, quidquid latet apparebit, anything hidden will be revealed, nil inultum remanebit. nothing will remain unavenged.

bravo MARCH/APRIL/MAY 2019 17 PROGRAM NOTES

Quid sum miser tunc dicturus? What can a wretch like me say? Quem patronum rogaturus. What patron shall I ask for help cum vix justus sit securus? when the just are scarcely protected?

3. Rex tremendae

Rex tremendae majestatis, King of terrible majesty, qui salvandos salvas gratis, who freely saves those worthy of redemption, salva me, fons pietatis. save me, Source of Mercy!

4. Recordare

Recordare, Jesu pie, Remember, sweet Jesus, quod sum cause tuae viae, that I am the cause of your suffering, ne me perdas illa die. do not forsake me on that day.

Quaerens me sedisti lassus, Seeking me, you descended wearily, redemisti crucem passus, You redeemed me by suffering on the cross, tantus labor non sit cassus. such great effort should not have been in vain.

Juste judex ultionis, Just Judge of Vengeance, donum fac remissionis, grant the gift of remission ante diem rationis. before the day of reckoning.

Ingemisco tamquam reus, I groan like a criminal, culpa rubet vultus meus, my face blushes with guilt, supplicanti parce, Deus. God, spare a supplicant.

Qui Mariam absolvisti, You who absolved Mary [Magdalene] et latronem exaudisti, and inclined your ear to the thief, mihi quoque spem dedisti. have also given me hope.

Preces meae non sunt dignae, My prayers are unworthy, sed tu, bonus, fac benigne, but, Good One, have mercy, ne perenni cremer igne. that I may not burn in everlasting fire.

Inter oves locum praesta, Grant me a place among the sheep, et ab hoedis me sequestra, and separate me from the goats, statuens in parte dextra. keeping me at your right hand.

bravo MARCH/APRIL/MAY 2019 18 PROGRAM NOTES

5. Confutatis

Confutatis maledictis, When the damned are dismayed flammis acribus addictis, and assigned to the burning flames, voca me cum benedictis. call me among the blessed.

Oro supplex et acclinis, I pray, suppliant and kneeling, cor contritum quasi cinis, my heart contrite as ashes, gere curam mei finis. care for me when my time is at an end.

6. Lacrimosa

Lacrimosa dies illa, What weeping that day will bring, qua resurget ex favilla, when from the ashes shall arise judicandus homo reus. all humanity to be judged. Huic ergo parce Deus, But spare me, God, Pie Jesu Domine, Merciful Lord Jesus, dona eis requiem. Amen. grant them eternal rest. Amen.

IV. Offertory

1. Domine Deus

Domine Jesu Christe, rex gloriae, O Lord Jesus Christ, King of Glory, libera animas omnium fidelium defunctorum deliver the souls of all the faithful departed de poenis inferni et de profundo lacu! from the pains of hell and from the deep pit; Libera eas de ore leonis, deliver them from the lion’s mouth ne absorbeat eas Tartarus, don’t let them be swallowed by hell, ne cadant in obscurum, don’t let them fall into darkness. Sed signifer sanctus Michael representet eas But have the holy standard-bearer, Michael, in lucem sanctam, lead them into the holy light quam olim Abrahae promisisti et semini ejus. which you once promised to Abraham and his seed.

2. Hostias

Hostias et preces tibi, Domine, Sacrifices and prayers of praise, laudis offerimus. Lord, we offer to you. Tu suscipe pro animabus illis, Receive them today for the souls quarum hodie memoriam facimus: of those we commemorate this day; fac eas, Domine, de morte transire ad vitam, make them, o Lord, pass from death to the life quam olim Abrahae promisisti et semini ejus. which you once promised to Abraham and his seed.

bravo MARCH/APRIL/MAY 2019 19 PROGRAM NOTES

V. Sanctus

Sanctus, Sanctus, Sanctus, Holy, holy, holy, Dominus Deus Sabaoth! Lord God of Hosts. Pleni sunt coeli et terra gloria tua! Heaven and earth are full of your glory. Hosanna in excelsis! Hosanna in the highest! Benedictus qui venit in nomine Domini. Blessed is he who comes in the name of the Lord, Hosanna in excelsis! Hosanna in the highest!

VI. Benedictus

Benedictus qui venit in nomine Domini. Blessed is he who is coming in the name of the Lord. Hosanna in excelsis. Hosanna in the highest.

VII. Agnus Dei

Agnus Dei, qui tollis peccata mundi, Lamb of God, you who take away the sins of the world, dona eis requiem. grant them rest. Agnus Dei, qui tollis peccata mundi, Lamb of God, you who take away the sins of the world, dona eis requiem sempiternam. grant them eternal rest.

VIII. Lux aeterna (Communion)

Lux aeterna luceat eis, Domine, May eternal light shine upon them, o Lord, cum sanctis tuis in aeternum, quia pius es. with your saints in eternity, for you are merciful. Requiem aeternam dona eis, Domine, Give them eternal rest, o Lord, et lux perpetua luceat eis and let perpetual light shine upon them cum sanctis tuis in aeternum, with your saints for ever, quia pius es. for you are merciful.

Duration of completed work: 0:48:00

Last CSO performance(s) of work: 4/11-12/2014 with Jean-Marie Zeitouni, conductor

Notes by Peter Laki

bravo MARCH/APRIL/MAY 2019 20 bravo MARCH/APRIL/MAY 2019 21 bravo MARCH/APRIL/MAY 2019 22 FRIDAY, APRIL 5, 2019, 8:00 P.M. SATURDAY, APRIL 6, 2019, 8:00 P.M. THE TRUMPET SHALL SOUND OHIO THEATRE Rossen Milanov, conductor Dominic Cheli, piano George Goad, trumpet • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • IGOR STRAVINSKI Divertimento from Le Baiser de la fée [The Fairy’s Kiss] I. Sinfonia II. Danses suisses III. Scherzo IV. Pas de deux

DMITRI SHOSTAKOVICH Concerto No. 1 in C Minor for Piano and Orchestra, Op. 3 I. Allegro moderato II. Lento III. Moderato IV. Allegro con brio Dominic Cheli, Piano George Goad, Trumpet

INTERMISSION

LEOŠ JANÁCˇEK Sinfonietta J. Keilberth, arr. I. Allegretto II. Andante - Allegretto III. Moderato IV. Allegretto V. Andante con moto

ADDITIONAL SUPPORT PROVIDED BY MASTERWORKS HOTEL SPONSOR:

bravo MARCH/APRIL/MAY 2019 23 DOMINIC CHELI, piano

His debut CD for the Naxos label (July 2017) features the music of Muzio Clementi, and has been very favorably reviewed: “definitive performances that match splendid playing with an appreciation of, and sympathy with, Clementi’s diverse, classically based style” (MusicWeb International). Dominic recorded a performance on WQXR’s long-running McGraw Hill Financial Young Artists Showcase program with host Bob Sherman, which aired in November 2017, and he has also appeared on the public radio program From the Top.

In addition to his successes in 2017-18, upcoming concerts include a performance of Rachmaninoff’s Applauded by MusicWeb International for his 2nd Piano Concerto with the Northwestern German “splendid playing…great skill and technical prowess,” Philharmonic, and recitals at Steinway Hall in pianist Dominic Cheli was First Prize winner of the Beverly Hills and the Colburn School in Los Angeles. 2017 Concert Artists Guild Competition. Earlier in Committed to sharing his passion for music with 2017, Naxos released his debut recital CD and won younger audiences, Mr. Cheli recently performed on the Music Academy of the West Concerto Competition, the concert series “Baby Got Bach,” at the invitation leading to a critically acclaimed performance of of pianist and Artistic Director Orli Shaham. Prokofiev’s Piano Concerto No. 2 with the Festival Orchestra. His rapidly-advancing career includes his Mr. Cheli has received numerous awards from Yale upcoming concerto debut in Europe and his Carnegie University, including the Elizabeth Parisot Prize as Hall recital debut on the 2018-19 CAG Series at Weill “an outstanding pianist” and the Charles S. Miller Recital Hall. Prize, awarded to “a gifted pianist who has done outstanding work.” He also received the Harold A native of St. Louis, Dominic has been praised for Bauer Award from the Manhattan School of Music, playing with “…insight and tenderness [one] would “given to a student in recognition of outstanding expect from a much older, experienced performer” accomplishment, cooperation, and promise”. and “touch [that] was resonant and rich” (The Heartland Journal). He has performed at many Dominic Cheli began his musical training in notable venues, including Carnegie Hall, Merkin St. Louis, and is currently pursuing an Artist Diploma Concert Hall, the Granada Theatre of Santa Barbara, at the Colburn Conservatory of Music in Los Angeles, and the Sheldon Concert Hall of St. Louis. Also in his California, studying with Fabio Bidini. He earned his hometown, he recently performed Beethoven’s Piano Master of Music degree from Yale University and Concerto No. 4 with the Metropolitan Orchestra of Bachelor’s degree from the Manhattan School of St. Louis. Music. Past teachers include Zena Ilyashov, Peter Frankl, André-Michel Schub, and Sylvia Rosenberg.

bravo MARCH/APRIL/MAY 2019 24 GEORGE GOAD, trumpet

as principal trumpet of the Columbus Symphony for two years. He has been a guest performer with the Detroit Symphony, the Grand Rapids Symphony, and the . He has spent summers at the National Repertory Orchestra, the Aspen Music Festival, and the Tanglewood Music Center. George received his Bachelor’s degree from The Curtis Institute of Music in Philadelphia and is also a graduate of The Shepherd School of Music at Rice University, where he received his Master’s degree. Following his years of education, he spent a year as a fellow at the New World Symphony in Miami Beach, Florida. He grew up in Rockford, Michigan, where he studied with Aaron Good and Gregory Good in his early years. When George Goad is in his first season as associate away from the trumpet, George is an avid distance principal trumpet with the Montreal Symphony. runner and can often be found with his wife exploring Prior to his position in Montreal, George performed the outdoors.

bravo MARCH/APRIL/MAY 2019 25 PROGRAM NOTES

Divertimento from The Fairy’s Kiss (1928) As he told Craft, “Le baiser de la fée probably by began as far back as 1895, during my first visit to (Oranienbaum, nr. St. Petersburg, 1882 – Switzerland, though I remember I was most fascinated New York, 1971) by the English who came to look at the Jungfrau through telescopes.” This image found its way into the Igor Stravinsky’s love for Tchaikovsky’s music dated first scene of the ballet, where Stravinsky imagined from childhood. Stravinsky’s father Fyodor, the leading “rustic scenes...taking place in a Swiss landscape, bass singer of St. Petersburg’s Mariinsky Theater, with some of the performers dressed in the manner had performed in many of Tchaikovsky’s operas, and of early tourists and mingling with the friendly cherished the signed photograph he had received villagers.” The mingling of Swiss peasants and foreign from the composer after a memorable performance. tourists seems to correspond to the mixture of two Young Igor caught one fleeting glimpse of Tchaikovsky musical styles, those of Tchaikovsky and Stravinsky. at the opera; the image, as he later wrote, “remained in the retina of my memory all my life.” The story, in a nutshell, is about a fairy whose fateful kiss makes a young man disappear from the land As a mature composer, Stravinsky continued to value of the living; he is transported to a realm “beyond the refinement of Tchaikovsky’s style; his first explicit time and place,” portrayed as a home of eternal homage to the 19th-century master was the 1921 happiness. The linkage of Eros and Thanatos (love opera Mavra, followed seven years later by the ballet and death) is a quintessentially Romantic idea and Le baiser de la fée (“The Fairy’s Kiss”). indeed, The Fairy’s Kiss is one of Stravinsky’s most Romantic scores, even though Tchaikovsky’s music is The work was commissioned by the Russian-born transformed to sound like pure Stravinsky. dancer Ida Rubinstein, who was starting a new ballet company in Paris. The production was intended The four movements of the Divertimento correspond as a tribute to Tchaikovsky on the 35th anniversary to the four scenes of the original ballet. Although of his death. Stravinsky decided to base his score Stravinsky made substantial cuts in each movement, directly on Tchaikovsky’s music, using selections not reducing the length of his score by half, all the originally written for orchestra. He started to research important musical moments were retained, including Tchaikovsky’s songs and shorter piano works, some the two Tchaikovsky works Stravinsky used in full, of which he had long known and some of which he both songs for voice and piano: “Lullaby in the Storm” was just discovering. He treated his sources with a (Op. 54, No. 10), and the well-known “None but the great deal of freedom, often recomposing the themes Lonely Heart” (Op. 6, No. 6). and placing original motifs in entirely new contexts. The rewriting processes were so complex that in his Duration of completed work: 0:23:00 conversations with Robert Craft thirty years later, Stravinsky no longer remembered whether certain Last CSO performance(s) of work: 1/27-28/2007 with passages were by him or by Tchaikovsky. Peter Wilson, conductor

For the story of his ballet, Stravinsky turned to the tales of , which had earlier Piano Concerto No. 1, Op. 35 (1933) inspired him in the opera The Nightingale. He by described the Danish writer as a “gentle, sensitive (St. Petersburg, 1906 – Moscow, 1975) soul whose imaginative mind was wonderfully akin to Like several great 20th-century composers—Béla that of the musician (Tchaikovsky).” His choice fell Bartók, Sergei Rachmaninoff, and Sergei Prokofiev on one of Andersen’s less well-known stories, “The among them—Shostakovich was also a concert pianist, Ice Maiden” (sometimes translated as “The Snow and (there are recordings to prove it) an extremely Queen”), set in the high mountains of Switzerland. good one, too, as long as his health permitted him to This detail was particularly important to Stravinsky. perform. He wrote prolifically for his own instrument,

bravo MARCH/APRIL/MAY 2019 26 PROGRAM NOTES producing two concertos, two sonatas, two large world of comic turns and raspberries ringmastered by collections of solo pieces (the 24 Preludes, Op. 34, the trumpet.” Yet the movement ends introspectively, and the 24 Preludes and Fugues, Op. 87), two piano with a quiet recall of the opening theme dying away in trios, a piano quintet, and numerous smaller works. a peaceful duo of the piano and the trumpet.

The first concerto—Concerto for Piano with the The second movement is a melancholy waltz, with Accompaniment of String Orchestra and Trumpet— “allusions to the world of cinema,” according to shows a youthful Shostakovich, full of wit and energy Elizabeth Wilson, author of the book Shostakovich but also displaying a rich lyrical vein. The early 1930s Remembered. Its main melody is introduced by the were happy times for the composer who was the muted string orchestra and continued by the piano in darling of the Leningrad musical scene. His music the best Romantic tradition. After a stormy but brief was everywhere: in the concert hall, at the theatre and più mosso interlude, the waltz theme returns, now in films. He had just completed his most ambitious played by the trumpet; however, it is left to the piano work to date, the opera Lady Macbeth of the Mtsensk to bring the movement to its ethereal conclusion. District, and the disastrous Pravda editorial of January 1936, which was going to change Shostakovich’s life The third movement, just under two minutes, is little forever, could in no way be foreseen in 1933. more than a prelude to . The unaccompanied piano music with which it opens could in fact come The young Shostakovich was naturally drawn to from one of Shostakovich’s piano preludes, with the “irony, satire, parody and the grotesque,” to quote strings adding an expressive melodic strain of their the title of an excellent study exploring all of these own. But Shostakovich doesn’t allow much more time concepts in Shostakovich’s music, by Esti Sheinberg. for sentimentality, and launches into the wickedly The composer was profoundly influenced by such funny “Allegro con brio” instead. writers as Nikolai Gogol, Vladimir Mayakovsky, and Mikhail Zoshchenko, all of whom, in different ways, Here the musical references multiply: one recognizes used various forms of humor in the service of their a quote from Beethoven’s Rondo a capriccio, Op. 129 social critique. Shostakovich followed this tradition in (“Rage over a Lost Penny”), as well as allusions to his first opera, The Nose (1928), based on a Gogol Haydn, Mahler, a Jewish street song from Odessa, and story, and in his incidental music to Mayakovsky’s more. Shostakovich ties all these elements together Bedbug (1929). In his non-theatrical works, too, the with inimitable elegance. The “circus-world” evoked humor carries special meaning. Shostakovich mixes in the first movement returns with a vengeance the most diverse styles in his Piano Concerto—and as Shostakovich, to quote Elizabeth Wilson again, there was a whole school of literary thought that “manifests the daring and high spirits of youth”— emphasized such multiplicity of voices as an important high spirits that would be brutally killed not long after means of artistic expression. Shostakovich was well the concerto was completed. acquainted with these intellectual trends through his best friend, the musicologist Ivan Sollertinsky. Duration of completed work: 0:21:00

Last CSO performance(s) of work: 5/2-4/2014 with The Piano Concerto is, indeed, all about clashing Lilja Zilberstein, piano and Gregory Vajda, conductor musical styles, and about blurring the boundaries between joke and serious matter—with the evident goal of delighting, but also confusing, the listener. The opening, after a mini-flourish on the piano and a Sinfonietta (1926) mini-fanfare on the trumpet, is lyrical and expressive, by Leoš Janáˇcek but the melodic line keeps veering off in unexpected (Hukvaldy, Moravia [now Czech Republic], directions. The second theme, in a faster tempo, is 1854 – Moravská Ostrava, 1928) more openly parodistic, and it is not long before we Are you ready for a bit of musical trivia? Name an enter what one commentator described as “a circus- orchestral composition whose score calls for twelve

bravo MARCH/APRIL/MAY 2019 27 PROGRAM NOTES trumpets (as opposed to the usual two or three). played, as the melodies bear the unmistakable imprint It would probably be hard to find a second piece of Janáˇcek’s personal style: short folk-like fragments that shares this distinction with Leoš Janáˇcek’s recombined in ingenious ways, repeated and varied in Sinfonietta, one in a whole group of masterpieces massive blocks of sound. This technique prevails not written by the Moravian master during the last years only in the fanfare-filled first movement but in the rest of his life. of the piece as well, even though the melodic style and the tone colors change considerably. In his sixties and seventies, Janácˇek (who, as a native of the Moravian region, had a different cultural The second movement consists of a string of quasi- identity than Dvorˇák or Suk) was younger at heart folk melodies, some of them lyrical and some dance- than many people half his age as he entered the like, all colorfully harmonized and orchestrated. most creative period of his entire career. This late Towards the end, we hear more trumpet fanfares, efflorescence had a lot to do with an encounter in derived this time from the first theme of the movement. the summer of 1917 that forever changed his life. Janáˇcek’s Czech biographer Jaroslav Vogel described The composer, who had just begun to emerge from these fanfares as “fluttering....above in a ‘flag-over- many years of neglect with the sensational Prague the-castle-ramparts’ manner.” Some of the earlier premiere of his opera Jenu˚fa, met a young woman themes are then repeated in a more subdued tone, named Kamila Stösslová at a spa in Moravia. He but the movement ends with plenty of momentum as was 63, she 26. They were both married; she had the first dance theme is brought back in all its vigor. two young children. Janácˇek fell passionately in love. His feelings inspired, most directly, his Second The third movement begins and ends with a sweet String Quartet (“Intimate Letters”), but they also romantic melody, but there is a much more active provided the impetus for the four operas, the central episode, dominated by the trombones, in turn Glagolitic Mass, two piano concertos and the brilliant menacing and humorous. Finally, the romantic melody Sinfonietta that Janácˇek composed in the 1920s. returns as a wistful epilogue.

The Sinfonietta originated in an experience the The fourth-movement scherzo marks a return to the composer had shared with Kamila as the two of “fanfare” style. Its striking trumpet melody is repeated them heard a military band give a concert in the in identical form over and over again (though not park at Písek, the small Czech town where Kamila always in the trumpets), only occasionally interrupted lived. The lively brass music enjoyed in the beloved by short sections where the tempo surprisingly, and woman’s company was the starting point. An external teasingly, slows down to Adagio, only to bounce back stimulus was provided just at the right moment by a to Presto with even more energy than before. commission to write a festive piece for Sokol, an influential youth organization promoting nationalism The last movement expands on the folk-music vein and athletics. of earlier movements. The same simple melody is presented in a number of variations. Then, the At the first performance. the work was called “Military exuberant fanfares of the first movement return in Sinfonietta”; the adjective was dropped when the their entirety, but in an even richer orchestration, score was published. Janáˇcek had also jotted down with brilliant string and woodwind trills added. The tentative titles for the individual movements (“Fanfares”— work ends in the full splendor of the “military” brass, “The Castle”—“The Convent”—“The Street”—“Town complete with twelve trumpets (and that’s without Hall”), but these were not retained in the end. counting the two bass trumpets).

The fanfares inspired by that memorable day in the Duration of completed work: 0:22:00 park may be heard in the first movement, as well as at the end of the last one. There are probably no Last CSO performance(s) of work: 3/8/2005 with Charles Barker direct quotes from anything the band may have Notes by Peter Laki bravo MARCH/APRIL/MAY 2019 28 bravo MARCH/APRIL/MAY 2019 29 bravo MARCH/APRIL/MAY 2019 30 SATURDAY, APRIL 27, 2019, 8:00 P.M. AN EVENING WITH JASON ALEXANDER OHIO THEATRE Bob Bernhardt, conductor Carrie Schroeder, soloist Todd Schroeder, soloist • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • KLAUS BADELT Pirates of the Caribbean: Curse of the Black Pearl Ted Ricketts, arr. GEORGES BIZET Intermezzo from Suite No. 1 from Carmen GEORGE M. COHAN George M. Cohan Salute Ralph Hermann, arr. EDVARD GRIEG “Ase’s Death” from Peer Gynt Suite No. 1, Op. 46

JOHN WILLIAMS Suite from Far and Away

INTERMISSION

Jason Alexander Program announced from stage

ADDITIONAL SUPPORT PROVIDED BY

bravo MARCH/APRIL/MAY 2019 31 BOB BERNHARDT, conductor

He returned this summer to the Boston Pops, which he first conducted at John Williams’ invitation in 1992, and he has been a frequent guest ever since. Along with Boston, he has also been a frequent guest conductor of the Edmonton Symphony Orchestra (in his 13th season as conductor of their Symphony Under the Sky Festival), the Baltimore Symphony, the Detroit Symphony, the Cincinnati Pops, the Pittsburgh Symphony, the Dallas Symphony, the Houston Symphony, the Seattle Symphony, the Pacific Symphony, the Florida Orchestra, the Grand Rapids Symphony, the Las Vegas Philharmonic, and the Santa Barbara Symphony. He has been a guest with the St. Louis Symphony, Virginia Symphony, Phoenix With more than three decades experience as a Music Symphony, and many others. Director, Pops Conductor and in the 0pera pit, Bob Bernhardt brings a unique perspective and ability In the world of pops, he has worked with scores of each time he is on the podium, and in every genre. stars from Broadway, Rock & Roll, and the American Songbook, from and Kelli In 2015, Bob Bernhardt was named Principal Pops O’Hara, to the Beach Boys and Wynonna, to Jason Conductor of the Grand Rapids Symphony and Alexander and Megan Hilty. And because of his this season is in his 22nd year as Principal Pops extensive experience and lucky upbringing, he has Conductor of the Louisville Orchestra, as well as his rarely met music he doesn’t love. 37th consecutive year with the company. It’s also his 7th season as Music Director Emeritus and Principal A lover of opera, he conducted productions with Pops Conductor of the Chattanooga Symphony and Kentucky Opera for 18 consecutive seasons, and for Opera (where he was Music Director for 19 seasons). 19 seasons with his own company in Chattanooga, as He is also an Artist-in-Residence at Lee University well as many guest conducting engagements with the since 2011. Nashville Opera.

Formerly, he was Principal Conductor/Artistic Director He received his Master’s degree with Honors from of the Rochester Philharmonic, Music Director the University of Southern California’s School of and Conductor of the Tucson Symphony, Principal Music, studying primarily with Daniel Lewis. He Guest Conductor of Kentucky Opera, Music Director received his BA-Fine Arts degree from Union College in and Conductor of the Amarillo Symphony, and Artistic Schenectady, NY, where he graduated Phi Beta Kappa, Director of the Lake Placid Sinfonietta. summa cum laude, and an Academic All-American Baseball Player. He lives with his wife, Nora, in Signal Mountain, Tennessee.

bravo MARCH/APRIL/MAY 2019 32 JASON ALEXANDER

His many films include: , Jacob’s Ladder, Love Valor Compassion, Rocky and Bullwinkle, Dunston Checks In, The Hunchback of Notre Dame and Shallow Hal. In addition he directed the feature films For Better or Worse and Just Looking. He is also a distinguished television director, overseeing episodes of Seinfeld, Til Death, , Mike and Molly, and Franklin and Bash. He won the American Country Music Award for his direction of ’s video “Cooler Online.”

He began his work as a stage actor in New York with his debut in the original Broadway cast of the Hal Though best known for his award-winning, nine-year Prince/ musical Merrily We Roll stint as the now iconic George Costanza of television’s Along. He continued starring on Broadway in the Seinfeld, Jason Alexander has achieved international original casts of Kander and Ebb’s , Neil recognition for a career noted for its extraordinary Simon’s , Rupert Holmes’ Accomplice diversity. Aside from his performances on stage, and his Tony Award-winning performance in Jerome screen and television, he has worked extensively as Robbin’s Broadway. Jason also authored the libretto a writer, composer, director, producer and teacher for that show which went on to win the Tony Award of acting. for Best Musical. After moving to LA, Jason continued working in the theater, notably serving as the artistic For his depiction of “George” on Seinfeld, Jason director for the and for garnered six Emmy nominations, four Golden Globe the hit West Coast production of Mel Brook’s The nominations, an American Television Award and Producers. Most recently, Jason returned to Broadway two . He won two Screen to star in the comedy and Actor Guild Awards as the best actor in a television in ’s The Portuguese Kid. comedy and in 2012 he was honored to receive the “Julie Harris Award for Lifetime Achievement” from He has also helmed a number of stage productions the Actor’s Fund. including: The God of Hell at the Geffen Playhouse; Broadway Bound at the Odyssey; , Jason has starred and guested in shows such as The The Fantasticks, and Sunday in the Park with George Grinder, Drunk History, Friends, , for Reprise, the world premiere of Windfall by Scooter The New Adventures of Old Christine, Criminal Minds, Pietsch for the Arkansas Repertory Theater, Native Monk, Franklin and Bash, , Gardens at the Pasadena Playhouse and currently Bob Patterson, Listen Up, Hit the Road, Orville and The Joy Wheel at The Ruskin Group Theatre. . He also starred in the television films of , , and Mr. Alexander tours the country and the world The Man Who Saved Xmas. Additionally, his voice performing his one-man show, “As Long As You’re has been heard most notably in Duckman, The Asking, a Conversation with Jason Alexander,” which Cleveland Show, American Dad, , Kody contains music, comedy and conversation. He can Kapow and Harley Quinn. also be seen in his whimsical salute to Broadway musicals with some of the finest symphony orchestras throughout the United States. You can stay in touch with Jason via Twitter (@IJasonAlexander).

bravo MARCH/APRIL/MAY 2019 33 CARRIE SCHROEDER

Australian tour of And Then They Came For Me and toured Singapore in Once Upon a Fairytale Christmas. In 2004, she made her film debut in Jessica and has appeared on Australian television in Neighbours, Offspring and H2O, Just Add Water.

Carrie moved to Los Angeles in 2012 and continues to keep busy in film and television across the U.S. Her notable theatre credits include playing Alison in John Osborne’s Look Back in Anger with the Los Angeles New Court Theatre and as Sophie in Joanne Mosconi’s new work for the Fringe Theatre Company, You Love That I’m NOT Your Wife! and Margot Wendice in The Group Rep’s Dial M For Murder, for which she was Carrie Schroeder can be seen as a series regular on honored to receive a BroadwayWorld nomination for Nickelodeon’s new hit show I Am Frankie. She plays Best Actress. In addition to her acting career, Carrie Dr. Sigourney Gaines, creator and Mom to Frankie, the is also an accomplished mezzo-soprano. She first teenage android. sang with Jason Alexander and the Boston Pops at Symphony Hall in 2013, and continues to enjoy many Carrie Schroeder was born and raised in the small more symphony engagements with Jason. country town of Shepparton in Victoria, Australia and attended Charles Sturt University in NSW Victoria, For more about Carrie, find her on Instagram where she received her Bachelor of Arts in Acting for @cschroederact the Stage and Screen. After graduating, she played ‘Eva’ in the Sydney production and subsequent

bravo MARCH/APRIL/MAY 2019 34 TODD SCHROEDER

Jukebox, and for over 25 years with the legendary , including her recent performance in Mary Poppins Returns. Todd also has music directed and performed with various artists on daytime and talk shows including The Oprah Winfrey Show and the The Late, Late Show. Schroeder acts as music and vocal director for various live performance shows including Disney’s , A Musical Spectacular and for Universal Parks and Resorts, including Sing On Tour and Universal Studios Japan’s productions of Wicked in Osaka, Japan. Todd has composed music for film, television and stage including the off Broadway hit, HAM, A Musical Memoir with Sam Harris, (Ovation award for best Todd Schroeder sits beneath his pork-pie hat musical) Unbeatable, A Bold New Musical, the new having the time of his life. He is a brilliantly romantic comedy Longing4Love.com and this fall talented pianist, composer, director, producer, his musical Wallace, das Musical: the true story of arranger, songwriter and certainly one of the William Wallace will premiere in Duisburg Germany. hardest-working music directors in the world with the prestigious L.A Stage Alliance awarding him Todd is very proud to be the founder of the Todd their Ovation Award for Best Musical Direction Schroeder Young Artist Grant, an annual scholarship and BroadwayWorld.com named him their Musical that for over 20 twenty years has been presented to Director of the Year. Over Schroeder’s career he has graduating high school students that wish to pursue worked with such celebrities as Jason Alexander, a career in the arts. Leslie Odom Jr., Tom Jones, Rita Coolidge, Sam Harris, the you-tube sensation group Postmodern ToddSchroederMusic.com, @thetoddschroeder

bravo MARCH/APRIL/MAY 2019 35 bravo MARCH/APRIL/MAY 2019 36 FRIDAY, MAY 3, 2019, 8:00 P.M. SATURDAY, MAY 4, 2019, 8:00 P.M. MAHLER FIVE OHIO THEATRE Rossen Milanov, conductor Leila Josefowicz, violin • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • THOMAS ADÈS Violin Concerto - Concentric Paths Leila Josefowicz, violin I. Rings II. Paths III. Rounds

INTERMISSION

GUSTAV MAHLER Symphony No. 5 in C-sharp Minor Part I: 1. Trauermarsch 2. Stürmisch bewegt, mit größter Vehemenz Part II: 3. Scherzo: Kräftig, nicht zu schnell Part III: 4. Adagietto. Sehr langsam 5. Rondo-Finale: Allegro

ADDITIONAL SUPPORT PROVIDED BY MASTERWORKS HOTEL SPONSOR:

bravo MARCH/APRIL/MAY 2019 37 LEILA JOSEFOWICZ, violin

Violin concertos have been written especially for Leila Josefowicz by composers including John Adams, Esa- Pekka Salonen, Colin Matthews and Steven Mackey. Scheherazade.2 (Dramatic Symphony for Violin and Orchestra) by Adams was given its world premiere by Josefowicz in 2015 with the New York Philharmonic. Luca Francesconi’s concerto Duende—The Dark Notes, also written for Josefowicz, was given its world premiere by her in 2014 with Swedish Radio Symphony Orchestra and Susanna Mälkki before being performed by Josefowicz, Mälkki and the BBC Symphony Orchestra at the BBC Proms in 2015.

Recent highlights include engagements with the Leila Josefowicz’s passionate advocacy of Berliner Philharmoniker, Tonhalle-Orchester Zürich, contemporary music for the violin is reflected in Helsinki Philharmonic, and Tokyo Metropolitan, her diverse programs and enthusiasm to perform St. Louis, San Francisco, and Minnesota symphony new works. She frequently collaborates with orchestras. In summer 2017, Josefowicz appeared leading composers and works with orchestras and at Birmingham’s Symphony Hall and London’s Royal conductors at the highest level around the world. Albert Hall at the BBC Proms with City of Birmingham In 2008 she was awarded a prestigious MacArthur Symphony Orchestra. She returned to the London Fellowship, joining prominent scientists, writers, and Symphony Orchestra in December 2016, performing musicians who have made unique contributions to John Adams’ Scheherazade.2 in London, Paris contemporary life. and Dijon.

Highlights of Josefowicz’s 2017-18 season included Josefowicz has released several recordings, notably concerts with the Los Angeles Philharmonic, for Deutsche Grammophon, Philips/Universal, Concertgebouw Orchestra, and Iceland, Boston, and Warner Classics, and was featured on Touch Lahti, and Finnish Radio symphony orchestras, as Press’ acclaimed iPad app, The Orchestra. Her well as Washington’s National Symphony Orchestra. latest recording, featuring Scheherazade.2 with the Alongside pianist John Novacek, with whom Josefowicz St. Louis Symphony conducted by David Robertson, has enjoyed a close collaboration since 1985, she was released in 2016 and nominated for a Grammy performed recitals in Reykjavik, Leeds, Chicago, San Award. Josefowicz’s recording of Esa-Pekka Salonen’s Francisco, Santa Barbara, and Halifax (Nova Scotia), Violin Concerto with the Finnish Radio Symphony and has appeared recently at world-renowned venues Orchestra, conducted by the composer, was also such as New York’s Zankel Hall and London’s Wigmore nominated for a Grammy Award in 2014. Hall, where she returned in autumn 2017.

bravo MARCH/APRIL/MAY 2019 38 PROGRAM NOTES

Violin Concerto: Concentric Paths, If the first movement is a kind of perpetuum mobile, Op. 23 (2005) the second has a more complex form, complete with by Thomas Adès abrupt dramatic changes and intricate offbeat rhythms (b. London, 1971) that often sound like rubato (free rhythm), while they are in fact notated with extreme meticulousness. At forty-eight, Thomas Adès can look back on an A section filled with energetic double, triple, and international career of three decades. Having quadruple stops is followed by another made up burst on the scene as an astonishing teen-age of rapid passagework, leading in turn to a lyrical prodigy, he has long been an established composer, intermezzo for woodwind, a passionate theme for the pianist, conductor, and festival director. He was the soloist, and a concluding section where the intense youngest-ever musician to win the Grawemeyer Award, activity gradually calms down as the violin descends nicknamed the “Nobel Prize of music,” for his first from the stratosphere to the ground, its thematic work for large orchestra, Asyla. His operas, Powder material finally reduced to the two lowest pitches of Her Face, The Tempest, and The Exterminating Angel, the instrument (G and A-flat). have garnered universal acclaim; every new work from his pen is greeted with the greatest expectations The final movement opens with what sounds like and premiered in the most important musical centers some imaginary popular dance tune, put through its of the world to rave reviews. paces in constantly-changing mixed meters and with an eerie percussion accompaniment. Combined with a The violin concerto Concentric Paths was written for slower-moving violin theme, the dance tune increases Anthony Marwood, who played the world premiere in in energy and finally appears as a duet between the Berlin with the Chamber Orchestra of Europe, under solo violin and the piccolo, who play it at the same the direction of the composer, on September 4, 2005. time but not at the same tempo! A final crescendo puts a sudden end to the dance, and to the concerto. With the Violin Concerto, Adès has certainly left his “early period” behind and produced a work that Duration of completed work: 0:20:00 is fiercely original yet entirely comfortable with tradition—opposites only truly great composers Last CSO performance(s) of work: CSO premiere can reconcile. He elegantly tweaks the customary fast-slow-fast pattern of the concerto, in which the opening movement carries the most weight, into a Symphony No. 5 (1902) structure centered around its substantial middle by Gustav Mahler movement flanked by two shorter statements. The (Kalischt, Bohemia [now Kalištˇe, Czech Republic], titles of the individual movements (“Rings,” “Paths,” 1860 – Vienna, 1911) “Rounds”) indicate different routes by which one Gustav Mahler had his first brush with death on navigates the rich array of ideas that make up the February 24, 1901. After conducting a concert with work’s musical landscape. the Vienna Philharmonic in the afternoon and an opera in the evening, he suffered a massive intestinal The piece is a real journey, and a rather arduous hemorrhage that necessitated surgical intervention one at that, completed by the solo violin. In the on March 4. The 40-year-old Mahler felt that his last 121 measures of the first movement, there are only hour had arrived. Although the danger soon passed six in which the soloist doesn’t play; the violin part and Mahler recovered at a remarkable speed, the is dominated by breakneck sixteenth-note passages crisis had a lasting impact on his entire outlook on and melodies in the stratospheric regions of the life and death. instrument’s range. Delicate harmonics combined with agile woodwind parts and grave drum strokes create a complex and ever-changing orchestral texture that never lets the momentum flag for a moment.

bravo MARCH/APRIL/MAY 2019 39 PROGRAM NOTES

During his convalescence in Abbazia (a famous resort The movements completed that summer include a on the Adriatic Sea), Mahler worked on the revision gigantic waltz-fantasy titled “Scherzo,” the intensely of his Fourth Symphony, and immersed himself in lyrical “Adagietto,” and an exuberant Rondo-Finale. the study of J.S. Bach’s works. By the summer, he was in excellent health, and well ensconced in his Thus, the passage from death to life, bodily experienced newly-built summer home at Maiernigg on the Lake by Mahler in 1901, found direct expression in the of Wörth, close to where Brahms used to spend so symphony. While the general “darkness-to-light” many of his summer holidays. It turned out to be trajectory follows an earlier tradition (most notably, one of the most productive summers in Mahler’s life. Beethoven's Fifth, to which Mahler makes several He was working on Kindertotenlieder (“Songs on the allusions in his own Fifth), the contrasts are sharper Deaths of Children”), based on words by the early 19th- and the extremes of joy and pain greater than ever century poet Friedrich Rückert, and several additional before. In order to maximize those contrasts and Rückert songs, as well as the last of his settings from extremes, Mahler abandons traditional tonal unity: Des Knaben Wunderhorn (“The Youth’s Magic Horn”). the symphony begins in C-sharp minor and ends in In addition, he completed the first two movements of D major, a half-step rise symbolic of the spiritual his Fifth Symphony during the same summer. journey completed by the music.

Although this burst of compositional activity is, in and There is some reason to believe that Alma’s of itself, a sign of great vigor and vitality, there can be appearance in Mahler’s life had a decisive influence no doubt that the main theme of Mahler’s 1901 output on the way the symphony evolved. In 1901, Alma was death. Kindertotenlieder is about the deaths of Mahler had told her confidante, Natalie Bauer- children, the Wunderhorn song “Der Tamboursg’sell” Lechner, that the Fifth would be “a proper symphony (“The Drummer Boy”) portrays a young man on his with four movements, each complete in itself, all way to the gallows, and the Rückert song “Ich bin der connected only by their similar moods.” The Adagietto, Welt abhanden gekommen” (“I am lost to the world”) then, seems to have entered his thoughts only after is a farewell to life. The opening movement of the he had met Alma Schindler. Fifth Symphony is a funeral march, whose main theme is closely related to that of “Der Tamboursg'sell.” Alma, who had studied composition herself (although The second movement is a passionate expression Mahler forbade her to write music after she became of violent pain that incorporates a second funeral his wife), helped her husband copy the score and the march and—after a brief moment of sudden euphoria— parts during the summer of 1902. She was also the sinks back into deep despair. first to hear the completed work when Mahler played it to her on the piano. The first two movements were essentially ready and the scherzo at least sketched when Mahler left In its final form, the five movements of the symphony Maiernigg to reassume his duties as director of the are divided into three parts. The first part includes Vienna Opera at the beginning of the autumn. The movements one and two; the second part comprises new season got off to a stormy start, with intrigues movement three, while the third part is made up of at the Opera and disastrously received performances the last two movements. Thus, the overall form may be of the Fourth Symphony in several German cities. In understood as two slow/fast movement pairs framing November 1901, however, an event took place that a central scherzo. changed Mahler’s life forever: he met and fell in love with a 22-year-old girl named Alma Schindler. Movement I (“Trausermarsch, In gemessenem Before the year was out, they were engaged, and Schritt. Streng. Wie ein Kondukt”—“With measured they got married on March 9, 1902. At the end of step. Strict. Like a cortege,” C-sharp minor). March the season, Mahler returned to Maiernigg with his rhythms are heard with some frequency in Mahler’s young bride to continue work on the Fifth Symphony. symphonies, perhaps due to the impact of the music

bravo MARCH/APRIL/MAY 2019 40 PROGRAM NOTES of the local military barracks in Iglau (now Jihlava) the march) the other central musical type in his where he grew up. While the march often takes symphonies: the Ländler, an Austrian folk dance that on a tragic or funereal character in Mahler, of no had played an important role in Austrian classical movement is this more true than of the “Kondukt” of music since Haydn’s time. But Mahler’s use of the the Fifth. After a dramatic introduction started by the Ländler is unlike anybody else’s. He throws himself first trumpet, the main theme (as mentioned above, into the whirl of 3/4 time with great abandon. The a variant of “The Drummer Boy”) is played by the various motifs that unfold before our ears bring about violins. The music soon becomes “plötzlich schneller, subtle changes from the original Ländler, reminiscent leidenschaftlich, wild” (“suddenly faster, passionate, of the Austrian countryside, to its more sophisticated wild”) and there is a violent outburst of emotions, with urban cousin, the waltz. The outlines of a traditional the violins playing “as vehemently as possible.” The scherzo form may be readily discerned; however, “drummer boy” theme returns, followed by a second, there are extended development sections and other doleful episode in the same slower tempo. Recalls of irregularities that don’t fit in with either the scherzo the initial trumpet fanfare—played first by the trumpet form or the ländler rhythm. The various sections are and then by the first flute—close the movement. linked by many subtle motivic connections. The variety in orchestration techniques is astonishing; note in Movement II (“Stürmisch bewegt, Mit grösster particular the use of the solo horn throughout the Vehemenz”—“Stormily agitated, with the greatest movement, and the pizzicato, or plucked, strings in vehemence,” A minor). The connection between the the recapitulation of the trio section! The musical first and second movements is made evident by many textures used range from the simple “oom-pah-pah” thematic links. The trumpet fanfare that opened of the waltz to complex fugal procedures. As the late the symphony is especially prominent in the second Henry-Louis de La Grange remarked in his monumental movement, and a close relative of the “drummer-boy” Mahler : “Mahler never revealed more fully melody appears as a contrasting theme, marked “in his talents as a builder of musical structures and the the tempo of the funeral march.” But the movement inexhaustible richness of his invention. He was never has a main motif of its own that recurs several times; surer of himself and his art. This movement represents its brevity and simplicity make it sound equally fanfare- a unique movement of equilibrium and optimism in like (as the trumpet-call in the first movement), though his output.” it is played by the strings. In his fascinating analysis of the symphony, David B. Greene calls this theme Movement IV (Adagietto—F major). One of the most the “anger” motif, and describes how expressions of popular pieces Mahler ever wrote, the “Adagietto” is anger alternate with “peace-questing sections,” which frequently performed separately from the rest of the contain many of the moments shared with the first symphony. It was also featured in Luchino Visconti’s movement. Near the end of the movement, there is 1971 film Death in Venice, in which Thomas Mann’s a striking, brass-dominated “Pesante” (“Weighty”) original character, the writer Gustav Aschenbach, section that for the first time introduces the bright was transformed into a composer who bore an all-too- key of D major in which the symphony will end—an clear resemblance to Mahler. anticipation of the victory that is to come three movements later. For now, however, the prevalent The “Adagietto” is scored for strings and harp only. mood is one of pain and grief as the movement ends Its enchanting melody must be played seelenvoll softly and on an unmistakably tragic note. (“soulfully”), according to the instructions in the score. It closely resembles the song “Ich bin der Mahler indicated in the score that a long pause Welt abhanden gekommen,” mentioned above. The must follow this movement. Indeed, Movement III famous Dutch conductor Willem Mengelberg, who (Scherzo: “Kräftig, nicht zu schnell”—“Forcefully, not was a close associate of Mahler’s, said that this too fast,” D major) is as different from the preceding movement was Mahler’s declaration of love for Alma, music as can be. In it, Mahler glorifies what is (after and asserted he had been told so by both Gustav and

bravo MARCH/APRIL/MAY 2019 41 PROGRAM NOTES

Alma Mahler. The movement contains a prominent symphonies with texts from the Wunderhorn collection quote from Wagner’s Prelude to Tristan and Isolde, (Nos. 2-4) to purely instrumental works (Nos. 5-7). which is surely no accident. The quote confirms that We have seen that many hallmarks of Mahler’s the inner connection between love and death, central music, such as the march, the Ländler, and the to Wagner’s opera, must have been also on Mahler’s chorale, continue to be present in the Fifth; nor had mind, both in the song and in the symphony. the Wunderhorn inspiration disappeared. What makes this symphony new is musical technique. The thematic Movement V (“Rondo-Finale,” D major) follows the processes are much more involved than before. “Adagietto” without pause. Like the first-movement Motivic transformations are more extensive; the funeral march, the finale recalls a song written on web of connections between the motifs, both within a Wunderhorn text. Only this time it is a humorous and across movements, is more complex, and the piece, originally called “Lob des hohen Verstandes” counterpoint more elaborate than in the earlier works. (“The Praise of High Intellect”) in which the cuckoo and the nightingale have a singing contest, decided Mahler was proud of his accomplishment, but he by the donkey in the cuckoo’s favor. repeatedly commented on the difficulties he had with his new style, especially with regard to the The descending second half of this theme becomes orchestration. He said the new artistic problems the starting point for elaborate contrapuntal made him feel “like a beginner.” After the first developments (the intensive study of Bach’s works in performance, he found himself in need of changing the spring of 1901 was not for nothing!). This theme many details in the score, and he continued to keeps changing its form, while one of the rondo’s make revisions until the last year of his life. The episodes, derived from the “Adagietto,” remains percussion section in particular seems to have more or less the same every time it recurs, providing been so overpowering at first that Alma complained moments of rest amidst the hectic contrapuntal he had written the symphony “for percussion and activity. Shortly before the conclusion, a homophonic, nothing else.” chorale-like melody appears to increase the festive mood in which the symphony ends. The first performance in Cologne met with mixed, but at least not unanimously negative, reviews. The Commentators are divided about whether there is Viennese critics, however, were downright hostile a tinge of Mahlerian irony behind the cheerfulness after the first performance at Mahler’s own home of this finale. According to the philosopher and base. They seemed to take particular delight in musicologist Theodor W. Adorno, a great admirer of tearing the powerful director of the Court Opera to the composer, Mahler “was not a good yea-sayer” shreds. The most positive early reaction came from a (“war ein schlechter Jasager”); his expressions of faraway country that, for the moment, meant little to tragedy are always unambiguous while his optimistic Mahler. The Cincinnati Symphony under Frank van der statements are usually placed within quotation marks. Stucken gave the United States premiere to rave The quotation marks are made evident here, in part, reviews in March 1905. The following year, the by the allusion to the satirical song; nevertheless, the symphony was given in Boston, New York, and resounding enthusiasm of the ending is something Philadelphia, making Mahler’s music better known in entirely new in Mahler’s music, as none of his first four American musical circles even before the composer symphonies quite matches it in its joyful exuberance. himself arrived in this country in 1907.

The optimistic finale was not the only novelty in the Duration of completed work: 1:12:00 symphony. Mahler himself was aware that he had Last CSO performance(s) of work: 4/22-23/06 with taken a significant step forward with the Fifth, and Ilan Volkov, conductor had begun composing in a novel way. The change cannot be explained simply by the transition from Notes by Peter Laki

bravo MARCH/APRIL/MAY 2019 42 bravo MARCH/APRIL/MAY 2019 43 bravo MARCH/APRIL/MAY 2019 44 COLUMBUS SYMPHONY

BOARD OF TRUSTEES ADMINISTRATION Lisa Barton, Chair Robert E. Morrison, Jr., Vice Chair executive Denise Rehg, Amy T. Shore, Secretary Executive Director Alan Litzelfelner, Treasurer artistic operations Daniel Walshaw, Vice President of Operations TRUSTEES and Artistic Planning Daren Fuster, Kurt Bendeck Director of Community Relations G. Ross Bridgman and Personnel Management Jean-Etienne Lederer, Robert Cochran Principal Librarian Elizabeth Graiser, Michael P. Foley Librarian and Projects Assistant Kenneth M. Freedman William Lutz, Stage Manager Hector Garcia development Jack George Stephanie Davis Wallace, PhD, Marilyn Harris Donor Relations Manager Susan Ropp, Cindy Hilsheimer Foundations and Grants Manager Terry Hoppmann Katie Cullen, Data Analyst and Project Manager Michelle Kerr Julie Weeks, Talvis Love Special Events Manager Varun Mahajan MD, DABR education and community outreach Jane Mattlin Jeani Stahler, David Milenthal Director of Education Brandi Daramola, Christine Shumway Mortine Youth Orchestras Manager Gay Su Pinnell finance Steve Snethkamp John Callahan, Director of Finance Michael Weiss Linda Matheis, Nelson Yoder Accountant marketing Kathy Karnap, EX-OFFICIO TRUSTEES Vice President of Marketing Holly Wiencek, Lyn Savidge Marketing Manager Jane McKinley Rolanda Copley, Publicist Karl Pedersen Stephanie McCool Betsy Sturdevant Marketing Intern Sydney Kimble, Marketing Intern HONORARY TRUSTEES ticketing Ron Pizzuti Brandon Smith, Subscription Sales and Ticket Manager Zuheir Mark Duellman, Subscription and Ticketing Assistant JoLane Campbell, Group Sales

bravo MARCH/APRIL/MAY 2019 45 FRIENDS OF THE COLUMBUS SYMPHONY

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

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

bravo MARCH/APRIL/MAY 2019 46 COLUMBUS SYMPHONY LEAGUE

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

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

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

CORPORATE AND FOUNDATION PARTNERS

With gratitude, the Columbus Symphony acknowledges all of our corporate and foundation supporters. This publication lists names of donors who made gifts, pledges and in-kind donations of $1,000 or more from September 1, 2017 to August 31, 2018.

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

bravo MARCH/APRIL/MAY 2019 48 CORPORATE AND FOUNDATION PARTNERS

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

INDIVIDUAL PARTNERS

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

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

bravo MARCH/APRIL/MAY 2019 49 INDIVIDUAL PARTNERS

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

bravo MARCH/APRIL/MAY 2019 50 INDIVIDUAL PARTNERS

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

bravo MARCH/APRIL/MAY 2019 51 IN KIND

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

TRIBUTE GIFTS

The following donors have made contributions to the Columbus Symphony in honor or in memory of a friend or loved one between September 1, 2017 and February 15, 2019. For questions about making a gift in honor or in memory of someone, please contact the Development Office at 614-221-5249.

IN HONOR Mary L. Florence Del Sheaffer Lisa Barton Deanna Olson Linda and Jeffrey Maxwell Susan Tomasky Kate Fornshell Barbara and Si Sokol Christian Bush Tori Raiken Carla Sokol Nancy Stohs and David Bush Friends of the Columbus Peter Stafford Wilson Connie Cahill Symphony Garrett and Sidney Dill Jeremy Kalef Donna Cavell Lawrence and Kathy Mead Jeff and Jeani Stahler Andrew Carr Ron Jenkins Kim and Jude Swanson Anonymous Elizabeth Jewell Becker Dr. Stephanie Davis Wallace Alexa Konstantinos Jerry and Susan Woodruff Columbus Symphony Trombone Sheri VanCleef Section Jeani Stahler Wayne and Cheri Rickert Rossen Milanov William and Carolyn Jacob Marcia Katz Slotnick Columbus Symphony Youth Rosa Stoltz Orchestra Courtney and Dr. Andy Neckers Carol and Steve Handler Adam and Laura Weiser Doug and Sue Neckers Mariana Szalaj CSYO Chamber Strings Barbara Nelson William and Carolyn Jacob Orchestra Deborah Cooper Adam and Laura Weiser David Tanner Suzanne Newcomb Nancy and Eugene King Brandi Daramola Ruth Whitehouse William and Carolyn Jacob David Thomas David Niwa Jan Ryan Patti Eshman Larry and Ginny Christopherson Joanne Spoth Don and Naomi Valentine Charlie Seal Gary and Evelyn Kinzel Terry L. Fairfield Devon and Michael Seal Dr. Stephanie R. Davis Wallace

bravo MARCH/APRIL/MAY 2019 52 TRIBUTE GIFTS

Jan Wade Evelyn Erlanger Rob and Marti Rideout Edgar Erlanger Mrs. Janet Blair Phil and Valerie Stichter William Ferguson Kasey Hansen Eric and Sharon Walton Ken and Deb Behringer Bryce C. Hansen Annegreth T. Nill and Bruce C. Posey Sara and John Donaldson Nancy Jeffrey Donald Harris Chad and Melinda Whittington Anne and Bill Porter Anonymous Violet Whittington Tom and Lynn Ryan Kevin Greenwood and Mark Lowery Linda and Richard Sedgwick Jody Williams Craig and Maureen Shaver Fanny A. Hassler Bill Hegarty Jeffrey and Megan Walker Patricia A. Cunningham and Craig R. Hassler Jiu Zhennan and David Frost Christopher Clerc Anonymous (3) Geneva Hensel Edwin and Roberta Przybylowicz Andrew Carr Carol Porter Joyce Fishman IN MEMORY John and Sally Stefano Bunny Hyatt Ann Backe Garrett and Sidney Dill Anonymous Donald and Jeannette Frost Friends of the Columbus Symphony Dale Masel and Roberto McClin Mrs. Barna J. Graves Marjorie Baker David and Louise Swanson Joanne M. Frye Charles Hyatt Friends of the Columbus Symphony Mrs. Rhoma Berlin David M. and Marilyn G. Barna J. Graves Garrett and Sidney Dill Baumgartner Ann Schnapp Gary Fulmer Marty Jones Friends of the Columbus Symphony John S. Jones Cynthia Bell Steven Bell Betty Lou Furash Paul Josenhans Marilyn Harris Annegreth T. Nill and Bruce C. Posey Betty Rae Bishoff Margaret Watkins Bo Gallo Mary Lou Kable Mrs. Rhoma Berlin Garrett and Sidney Dill Dr. Bill Blair Friends of the Columbus Symphony Mrs. Janet Blair Dr. Michael O. Garraway Mrs. Barna J. Graves Dr. Annie Marie Garraway Allen and Annie Hu Barbara Bradfute Joyce Ann Merryman Allene N. Gilman Janice M. Ladd Allene N. Gilman Charitable Trust Malinda K. Heineking Louis A. Burns Anonymous Virginia Gorry Elaine Lemeshow Friends of the Columbus Symphony Stanley Lemeshow Zamah Cunningham Patricia A. Cunningham and Kay Graf Robert E. Lindemann Craig R. Hassler Mrs. Rhoma Berlin Patricia Carpenter Garrett and Sidney Dill Mrs. Robert E. Lindemann Gene D’Angelo Friends of the Columbus Symphony Mrs. Rhoma Berlin Barna J. Graves Lenore Loewengart Zuheir and Susan Sofia Michael and Diane Hockman Steven and Victoria Loewengart

Weldon and Etta Mae Davis Malcolm Graves Mary Long Terry Alan Davis Mrs. Barna J. Graves Richard Duesterhaus and Jude Mollenhauer Greg Dillon Sally Guzzetta BJ Friedery and Arnold Erickson Barbara Dillon Kathleen Ort Mildred Gordon Miso Kim Sarah Lash Dowds JoAnn Hall Jan Ryan Mrs. Rhoma Berlin G. Philip Hall Louise Swanson Charlotte and Mike Collister Jean and John White Mary Schneider Hamblin Flo Ann Easton Dr. Edward L. Hamblin Mary Jean Loveday Mrs. Rhoma Berlin Dr. Amos J. Loveday, Jr. Friends of the Columbus Symphony bravo MARCH/APRIL/MAY 2019 53 TRIBUTE GIFTS

Joan Lynne Marcella Murley Ernest and Aurelia Stern Don Lynne Nancy Watkins Seyman and Sadie Stern

Vivek Mahajan Patricia Nichols Elizabeth Sturgess Dr. Varun and Dr. Monica Mahajan Lori Beals Mrs. Rhoma Berlin Dorothy and Rod Beehner Kristine J. McComis David and Susan Beyerle Robert Sprouse Janet K. Anderson Jean Brandt Stacey and Josh Ascher The Choral Group of the American Joe and Becky Clark Anne Melvin Association of University Women Laura and Baily Crockarell Salvador and Susan Garcia Friends of the Columbus Symphony Richard Pettit Ronald and Mary Hooker Clyde Gosnell and Louise Warner Stephen and Margaret Sutton The Jeffrey Company Beverly and Eric Johnston John D. Kennedy Ann Morgan Jan Tague Mark, Seton and Anne Melvin Robert Nichols Friends of the Columbus Symphony Justin and Jane Rogers Diane and Tony Piasecki David and Louise Swanson Mrs. Norman T. Smith Ann Root Sharon Tipton James and Gloria Sherer Oscar L. and Rita C. Thomas Jan Wade Anonymous Julie Ostrander Dolores Millat Kay Hedges Richard Tice Wayne and Cheri Rickert Mrs. Rhoma Berlin Joseph H. Oxley Robert Millat Margaret Oxley Rachel Timmons Andrew and Bette Millat Barbara E. Goettler Wayne and Cheri Rickert Oxley Family Loved Ones Rosemary Joyce Stephanie Rippe Margaret Oxley Ellen Rose

Annette Molar Mickey Pheanis Mr. Gary Tirey Marilyn and Alan Levenson Columbus Symphony League George and Kimberly Hoessly Barry Molar and Juliet Mellow Judy Ross Jennifer Tiell and Mark Adelsperger Wendy Vogl-Old Sam and Jane Morris Christina Old Lisa Morris and Kent Shimeall Nancy Ross Pat and Nancy Ross Margaret Wall Mervin Muller Katherine Boehm Richard J. and Ruth Ann Bull Larry Rutherford Mary Louise Casanta Barbara Clark Dr. Robert Horvat John and Rosina Hartig David Cohen Scott and Susanne Hirth Columbus Symphony League Nancylu Sarver Marilyn Metzger Loanne Crane Garrett and Sidney Dill Louise Swanson Diane Driessen Friends of the Columbus Symphony Mary K. and Ray Wall Belle Francisco and Rick Long Mrs. Barna J. Graves Joyce Gatwood Patrick J. Walsh Michael and Olga Howie William B. Shimp Daria Arbogast Karen Hudson Steve and Terry Sansbury James and Pamela Huebner Evan and Jean Whallon Marty Marlatt Margaret Sibbring Fonda Fichthorn Linda McCutchan Friends of the Columbus Symphony Sharie and Dennis McQuaid Janice T. Whittaker Ben and Alicia Mehraban Edwin R. Six III Nick and Lani Davakis Gerald and Ann Newsom H. J. Six Helen and Harry Sutherland George and Ruth Paulson Denise Rehg Mary Jeannette Smith Bonnie Wilson John and Carol Robinson Francis C. Smith Brent Welch Marilyn Scanlan The Shafer Family Gene Standley George H. Wilson Rebecca Stilson and Mike Sullivan Tom Battenberg and Helen Liebman Kathy Snapp Ed and Deb Susi John and Mary Fetters Jennifer Tiell and Mark Adelsperger Mark and Joyce Koch Leslie Ann Yovan Skip Yassenoff John and Diana Yovan

bravo MARCH/APRIL/MAY 2019 54 LEGACY SOCIETY

The Legacy Society recognizes patrons who have advised the Development Office that they have made or are making provisions for a planned gift to the Columbus Symphony. Such provisions often involve a bequest made through the donor’s will, but there are other types of deferred gifts with tax benefits which should be discussed with a financial advisor. To notify the Symphony of such a provision and become a member of the Columbus Symphony Legacy Society, or to obtain further information about planned giving, please contact the Development Office at (614) 221-5411.

Anonymous Judy and Jules* Garel Karen M. and Randall E. Moore James* and Lois Allen Jack E. and Winifred J. Gordon Richard R. Murphey, Jr. Elizabeth Ann Ayers Anne Goss and Richard Coleman* Mr. and Mrs. Robert A. Oakley George W.* and Shannon Baughman Marilyn H. Harris John M. Pellegrino Paul and Tere Beck Judith Harris Hays Betty J. Peters 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 Douglas and Darlene Jones James* and Marilyn Scanlan Richard and Lynn Colby Patricia Karr Carl and Elizabeth Scott William B. Connell Linda S. Kass Mr. and Mrs.* Arthur E. Shepard Janet and Robert Cox Mary and Ken Keller Anne C. Sidner Jerome and Margaret Cunningham William* and Sandra Kight Marcia Katz Slotnick Eugene R. and Pauline E.* Dahnke Frank A. Lazar George and Patricia Smith Richard I.* and Helen M. Dennis Lyman L. Leathers Marilyn A. Smith Johnson Brian and Christine Dooley Fran Luckoff Kim and Judith Swanson Sherwood* and Martha Fawcett Lowell T. and Nancy MacKenzie Sheldon and Becky Taft Barbara K. Fergus Susan J. Mancini David Thomas Robert Firdman Kenneth C. and Jane H. McKinley David H. and Rachel B.* Timmons Fred and Molly Caren* Fisher Kathy Mead Buzz and Kathleen Trafford Michael and Kris Foley Mr.* and Mrs. H. Theodore Meyer Craig D. and Connie Walley The Rev. Earl and Pauline Fritz Ruth Milligan

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

bravo MARCH/APRIL/MAY 2019 55 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 Howard and Sandra Pritz American Electric Power The Jeffrey Company Denise Rehg Paul and Tere Beck Mr. Eric T. Johnson and Merry Ann L. Sauls Pat and Ross Bridgman Dr. Rachel G. Mauk Robert and Ann Shelly Robert V. Byrd Douglas and Darlene Jones George and Patricia Smith CSO Musicians Outreach Fund Patricia Karr Zuheir and Susan Sofia of The Columbus Foundation Ken and Mary Keller Alden* and Virginia* Stilson Jerome and Bette Dare Mary C. Long* Sheldon and Rebecca Taft Garrett and Sidney Dill Susan J. Mancini David Thomas Charles and Anne Driscoll Mattlin Foundation David H. Timmons John and Francille Firebaugh Anne Melvin* Craig D. and Connie Walley The Rev. Earl and Pauline Fritz Annette Molar* Judith Harris Hays Gay Su Pinnell For a complete listing of contributors to the Future. Inspired. endowment campaign, please visit our website at http://columbussymphony.com/support/endowment/

bravo MARCH/APRIL/MAY 2019 56 bravo MARCH/APRIL/MAY 2019 57 CONCERT HALL & TICKET INFORMATION

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

bravo MARCH/APRIL/MAY 2019 58 bravo MARCH/APRIL/MAY 2019 60