September 21 • November 10, 2018 Photo: Stephen Pariser

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A Message from the Chair of the Board of Trustees 5 2018-2019 Musician Roster 7 SEPTEMBER 21-22 9 In Full Splendor OCTOBER 12-13 17 Leonard Bernstein Centennial Celebration OCTOBER 26-27 27 Italian Festival NOVEMBER 9-10 35 Handel: Messiah Board of Trustees/Administration 47 Friends of the Columbus Symphony 48 Columbus Symphony League 49 Partners in Excellence 50 Corporate and Foundation Partners 50 Individual Partners 51 In Kind 54 Tribute Gifts 54 Legacy Society 57 Future Inspired 58 Concert Hall & Ticket Information 59

ADVERTISING Onstage Publications 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com The Columbus Symphony program is published in association with Onstage Publications, 1612 Prosser Avenue, Dayton, Ohio 45409. The Columbus Symphony program may not be reproduced in whole or in part without written permission from the publisher. Onstage Publications is a division of Just Business!, Inc. Contents © 2018. All rights reserved. Printed in the U.S.A. bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 4 A MESSAGE FROM THE CHAIR OF THE BOARD OF TRUSTEES

Dear CSO Supporter,

Welcome to another amazing season of Columbus Symphony Masterworks, and thank you for your support of exceptional live performances of classical music in our community! We have a collection of irresistible concerts this season that are sure to inspire you.

We open the season In Full Splendor with magical and legendary music inspired by Disney’s classic Fantasia, including Dukas’ The Sorcerer’s Apprentice and Strauss’ iconic Also sprach Zarathustra, made famous by the film 2001: A Space Odyssey.

Up next is a Leonard Bernstein Centennial Celebration (October 12-13, Ohio Theatre). This unique concert features selections from the legendary composer’s most popular Broadway works, including On the Town, West Side Story, and Candide, with “Glitter and Be Gay” highlighting the Columbus Symphony Chorus.

Following that, we have our first-ever Italian Festival (October 26-27, Southern Theatre)! We welcome guest conductor Daniel Boico to the podium, and we’re thrilled to again have the talented Rachel Barton Pine on violin as she tackles Paganini’s difficult Violin Concerto No. 1. We know you’ll enjoy this marvelous tour of Italy with the music of Respighi and Mendelssohn.

After a long hiatus, Handel’s Messiah returns to the Columbus Symphony (November 9-10, Ohio Theatre). This is truly an unforgettable experience that features amazing soloists and the incredible Columbus Symphony Chorus.

We hope you are as excited as we are to begin the next season! On behalf of the musicians, staff, and board of the Columbus Symphony, we sincerely thank you for your enduring support, enthusiasm, and faith in this organization.

Please enjoy tonight’s performance!

Sincerely,

Lisa Barton Chair, Columbus Symphony Board of Trustees

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

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

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FRIDAY, SEPTEMBER 21, 2018, 8:00 P.M. SATURDAY, SEPTEMBER 22, 2018, 8:00 P.M. IN FULL SPLENDOR: OPENING NIGHT AT THE SYMPHONY THE OHIO THEATRE Rossen Milanov, conductor • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • JOHANN SEBASTIAN BACH/ Toccata and Fugue in D Minor, BWV 565 LEOPOLD STOKOWSKI

RICHARD WAGNER/ “The Ride of the Valkyries” from Die Walküre WOUTER HUTSCHENRUYTER

PAUL DUKAS The Sorcerer’s Apprentice

INTERMISSION

RICHARD STRAUSS Also sprach Zarathustra, Op. 30 I. Introduction II. Of the Backworldsmen III. Of the Great Longing IV. Of Joys and Passions V. The Song of the Grave VI. Of Science and Learning VII. The Convalescent VIII. The Dance-Song IX. Song of the Night Wanderer

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

ADDITIONAL SUPPORT PROVIDED BY MASTERWORKS HOTEL SPONSOR:

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 9 ROSSEN MILANOV, conductor

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

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

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Toccata and Fugue in D minor, BWV 565 “The Ride of the Valkyries” (before 1708) from Die Walküre (1856) by Johann Sebastian Bach by Richard Wagner (Eisenach, Thuringia, 1685–Leipzig, 1750) (Leipzig, 1813–Venice, 1883) orchestrated in 1926 by Leopold Stokowski (London, 1882–Nether Wallop, England, 1977) Wagner’s four-opera cycle, The Ring of the Nibelung, is a cosmic vision in which the struggle for the rule of Anyone who has ever seen Walt Disney’s Fantasia is the world clashes with the power of all-redeeming love. unlikely to ever forget Leopold Stokowski, in the role of The complex story involving gods, dwarfs, giants, and the flamboyant maestro, conducting his own arrangement humans begins in a primeval state in which the world of Bach’s Toccata and Fugue in D minor. Stokowski, who was at rest and ends in a universal conflagration that was flamboyant enough in real life, wanted to re-create restores the initial peace. This extraordinary dramatic Bach’s organ sound making use of the full colors of concept was realized through music that was nothing the modern symphony orchestra. He had played the short of revolutionary in style: Wagner’s innovations in organ himself as a young man, and brought his early harmony and in the handling of voices and instruments experiences to bear on the orchestration, cultivating a lush changed the course of music history. late-Romantic sound that accentuated what one might call Bach’s Romantic side. “The Ride of the Valkyries,” one of the most popular excerpts from the Ring, opens Act III of the second opera, The D-minor Toccata and Fugue is certainly one of Bach’s Die Walküre. The nine Valkyries, daughters of Wotan, most extravagant compositions. There was even a time the chief of the gods, are warrior women whose task it when some experts doubted Bach’s authorship, in part is to bring fallen heroes to their father in the heavenly because of its highly atypical nature. Most scholars now castle Walhalla. Joyfully riding on their wild horses in agree, however, that it is genuine Bach, most likely a full armor, the Valkyries rejoice in their strength and product of the composer’s early twenties. courage. But one of the sisters is missing: Brünnhilde, Wotan’s favorite daughter, has disobeyed her father’s The Toccata section astonishes by the abrupt and command and is now fleeing the god’s wrath. To a wholly unpredictable alternation of chords, passagework, memorable musical motif that has become part of and scales. The Fugue is one of the least contrapuntal popular culture, the other eight Valkyries (Helmwige, of all of Bach’s fugues: the voices have very little Gerhilde, Ortlinde, Waltraute, Siegrune, Rossweisse, independence and function mainly as harmonic parts. Grimgerde, and Schwertleite) assemble on a There are also toccata-like, virtuosic elements that are mountaintop to celebrate their heroic exploits. otherwise unheard of in fugues. In another unusual move, the piece ends with a return to the free rhythm of the Duration of complete work: 5:00 opening toccata. L’apprenti sorcier This extraordinary piece has always been popular (The Sorcerer’s Apprentice, 1897) with organists. There have also been several attempts by Paul Dukas to transcribe it for orchestra, though Stokowski’s (Paris, 1865–Paris, 1935) version, which the conductor first introduced with the Philadelphia Orchestra on February 8, 1926, is the only The great German poet Johann Wolfgang Goethe one to have become universally known. The advent of (1749-1832) borrowed the story for his ballad the “historical” movement in early music performance, Der Zauberlehrling (“The Sorcerer’s Apprentice”) from which favors original versions and authentic practices, the dialogue The Lie-Fancier by the second-century has done little to diminish its universal appeal. Greek writer Lucian. In the story, the apprentice uses the opportunity of his master’s absence to work some Duration of complete work: 10:00 magic of his own. He casts a spell on a broom, which comes alive and starts to bring buckets of water into

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 11 PROGRAM NOTES the house. To his horror, however, the apprentice Also sprach Zarathustra discovers that he has forgotten how to stop the broom. (“Thus Spoke Zarathustra,” 1896) He chops the broom in two, only to find that both by Richard Strauss halves turn into brooms working at an ever more frantic (Munich, 1864–Garmisch-Partenkirchen, 1949) speed. The excess water threatens to inundate the house, and the sorcerer returns just in the nick of In his symphonic poem Thus Spoke Zarathustra, time to prevent a catastrophe. Strauss attempted the near-impossible, namely to reflect on a rather difficult book of religious philosophy Goethe’s ballad inspired Paul Dukas, a contemporary and to convey its essence in such a way that you can and friend of Debussy, to write what is undoubtedly his viscerally feel the impact. There have been those who best-known work. Dukas and Debussy studied with the claimed Strauss had been overly ambitious, yet the same composition teacher at the Paris Conservatoire, boldness of his undertaking is astounding, and the but the overly self-critical Dukas completed only compositional tour de force that resulted is without peer about a dozen works in his entire lifetime, including in the history of late Romantic program music. the opera Ariane et Barbe-bleue and the ballet La Péri. He was also a distinguished teacher (his students Also sprach Zarathustra, by German philosopher included Olivier Messiaen) and a brilliant music critic. Friedrich Nietzsche (1848-1900), was written between 1883 and 1885, and subtitled A Book for Everyone Dukas’s symphonic scherzo begins with a slow and No One. Nietzsche appropriated the figure of introduction depicting the sorcerer and his incantations. Zarathustra (or Zoroaster, the founder of an ancient The woodwinds, the harp, and the harmonics of the Iranian religion still practiced today) and some poetic strings produced a mysterious ambiance. A strong and moralistic elements from the Avesta, the holy book timpani stroke gives the signal for the novice’s action, of the Zoroastrian religion. The book basically relates and the broom slowly begins to move as the bassoons a spiritual journey undertaken by the solitary thinker introduce the scherzo’s main theme (which is none Zarathustra, a journey whose stages encompass all other than the theme of the introduction in a much human emotions and areas of endeavor. Strauss faster tempo. The orchestration of the melody becomes was attracted to the idea of evolution contained in richer and richera as the broom wreaks havoc in the Nietzsche’s book, and by the image of the solitary prophet house. There is a momentary stop when the first four who contemplates the world and desires to achieve a notes are played, haltingly, by the solo contrabassoon. mystical union with it and with God. (The supreme goal Then the poor apprentice’s nightmare starts all of this evolution is to achieve the status of “superman,” over again, until the slow tempo of the introduction which was so grossly distorted later by Nazism.) announces the wizard’s return. The first four notes of the theme are also used to end the work, played in a fast Strauss’s tone poem is a single uninterrupted movement tempo, and fortissimo by the entire orchestra. consisting of an introduction and eight sections, each corresponding to a particular chapter from Nietzsche’s Duration of complete work: 12:00 book. Strauss selected the eight sections freely, changing Last CSO performance(s) of work: 1/17/2010 with Jerry even their order of sequence, so that his “plot” is Steichen, conductor completely different from Nietzsche’s. By this conscious selection process Strauss gave his programmatic composition a purely musical, “absolute” structure that, although unorthodox, is nevertheless coherent: a grandiose introduction followed by several episodes of contrasting character leading to the final dance- apotheosis with an ethereal, mystical coda.

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Strauss had the opening of Zarathustra’s prologue The image of Zarathustra comparing himself to the rising printed in the published score, with the intention of sun inspired the glorious opening of the tone poem. setting the tone for the introduction and, to some extent, The music expresses the cosmic dimensions of to the entire work: Zarathustra’s ambition with simple yet extraordinary means: a soft tremolo in the bass drum and the double When Zarathustra was thirty years old, he left his bass, a long-held deep C in the organ, followed by a homeland and the lake of his homeland and went up brief trumpet fanfare and a striking orchestral motif into the mountains. Here he enjoyed his intelligence juxtaposing a major and a minor chord. Uniting the two and his solitude and did not weary of them for ten forms of Western tonality in the same motif, Strauss years. Finally, however, his heart was changed — and created a potent symbol of Zarathustra’s cosmic one morning he arose with the dawn, stepped before vision. (It was not without reason that Stanley Kubrick the sun, and addressed it thus: chose this stunning passage for the soundtrack to his 1968 film classic 2001: A Space Odyssey.) “You mighty star! What happiness would be yours if you did not have those for whom you shine? For ten years The introduction culminates in a massive C-major you have been coming up here to my cave: you would sonority of the kind usually heard only at the end of have been sated with your light and this path if it longer works rather than at the beginning. “Zarathustra’s were not for me, my eagle and my serpent. descent” now begins.

“But we awaited you each morning, took your Musicologist Charles Youmans examined Strauss’s overabundance from you and blessed you for it. personal copy of Nietzsche’s book, in which certain significant passages are marked and their connections “Behold! I am tired of my wisdom, like a bee that to the music explicitly indicated by measure numbers has gathered too much honey; I have need of from the score. In the following discussion, we reproduce outstretched hands. some of these quotes according to Youmans’s 2005 study, Richard Strauss’s Orchestral Music and the “I want to give and distribute gifts until the wise ones German Intellectual Tradition. If there are no relevant among mankind have once again grown happy in their quotes in this source, the present annotator has added folly, and the poor in their wealth. a few personal suggestions.

“For that purpose I must descend into the deep: as you Von den Hinterweltlern (“Of the Backworldsmen”): do in the evening when you go beneath the sea and bring Zarathustra’s journey takes him first to what Nietzsche light to the underworld, you abounding star! considered the lowest point along humankind’s path toward self-realization. The literal translation of the “I must, like you, be submerged, or ‘perish,’ as those expression “Hinterweltler,” a coinage of Nietzsche’s, men say to whom I wish to descend. So bless me, you would be “backworldsmen”; the reference is to those calm eye, who can look upon even far too great good captive to a primitive religious world view. The bright fortune without envy. C major of the introduction gives way to a dark B minor; these two tonalities, distant and unrelated, “Bless the goblet that wants to run over, so that the are juxtaposed throughout the work as a symbol of river flows from it in a golden stream and bears the various dualities: Man and nature, day and night, light reflection of your rapture everywhere! and darkness, or good and evil (maybe there is an element of the ancient Zoroastrian religion shining “Behold! This goblet wants to become empty again, and through here, as these dualities play a central role in Zarathustra wants to become a human being again.” that doctrine). The horns play the Gregorian melody for “Credo in unum Deum” (“I believe in one God;” —Thus began Zarathustra’s descent.

—(anonymous translation from the Dover score)

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Strauss wrote the Latin words into the score lest the Von der Wissenschaft (“Of Science”): Zarathustra allusion be missed). Then a fervent hymn melody scored contemplates learning as a possible way of self- for a sixteen-part string ensemble begins and soars to realization, but finds that rational knowledge in itself an ecstatic climax. In the corresponding section of his is unsatisfactory. Learning is symbolized by a fugue, book, Nietzsche writes: traditionally the most “learned” of musical forms. Strauss’s fugue, started pianissimo by cellos and Ah, brothers, this God which I created was human work double basses, is made even more arcane by the and human madeness, like all gods! complex rhythms and intricate chromaticism employed. Zarathustra’s frustration finds expression in a recall of Von der grossen Sehnsucht (“Of the Great Longing”): the “Great Longing” theme, played in a fast and fiery In this section, the organ intones another Gregorian tempo by the violins in thirds. melody (“Magnificat”) while the horns reiterate the “Credo” motif. These religious symbols are brushed aside Such prolonged ancient fear at last becomes subtle, by an energetic new theme, first played by cellos and spiritual and intellectual—at present, I think, it is basses and gradually taking over the entire orchestra. called Science.

O my soul, I gave you the right to say No like the Der Genesende (“The Convalescent”): The ponderous storm, and to say Yes as the open heaven says Yes: fugue theme is completely transformed as it receives calm as the light do you remain, and now walk through several exciting countersubjects and is brought to a denying storm. climax whose forceful C-major sonority recalls the tone poem’s introduction. One might think for a moment Von den Freuden und Leidenschaften (“Of Joys and that the piece has ended. After a moment’s silence, Passions”): This section, an organic continuation of the however, C major is followed by B minor as it has been previous one, is dominated by a passionate theme in before, and the journey continues as an energetic C minor, first played by violins, horns, and oboes and trumpet call cuts through a complex orchestral texture. then by the full orchestra. Near the end, the trombones This is the longest section in the work so far, presenting introduce a sharply profiled new theme that is known a synthesis of all previous sections. Zarathustra has as the “theme of disgust (or satiety).” seen the world now and reawakens to a new state of consciousness that will be expressed in the great Once you had passions and called them evil. But now dance to follow. you have only your virtues: they grew out of your passions. You implanted your highest aim into the heart Hardly had Zarathustra spoken these words, however, of those passions: then they became your virtues and when he fell down like a dead man and remained like joys… All your passions in the end became virtues, a dead man for a long time. But when he again came and all your devils became angels. to himself, he was pale and trembling and remained lying down and for a long time would neither eat Grablied (“Grave-Song”): This section contrasts with nor drink. the previous one by its slower tempo and its B-minor tonality, as opposed to the earlier C minor. The oboe and Das Tanzlied (“The Dance-Song”): Strauss has been English horn transform the “Joys and Passions” theme harshly criticized for making the ecstatic dance of into a lament, amplified by an expressive violin solo Zarathustra (a Persian prophet turned Nietzschean that reaches a climax and then subsides. superman) a Viennese waltz. The apparent incongruity can be explained by pointing out that the waltz, for Yonder is the grave-island, the silent island; yonder Strauss, transcended mere local color and functioned as too are the graves of my youth. I will bear thither an a universal symbol for ecstatic sensuality. Strauss used evergreen wreath of life. an extremely sophisticated, virtuosic orchestration (a spectacular violin solo, divided strings, harp) that brings about the climax of the entire piece and a veritable

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“apotheosis of the dance” (to borrow the famous phrase O Man! Take heed! that Wagner had applied to the last movement of What says deep midnight’s voice indeed? Beethoven’s Seventh Symphony). “I slept my sleep— “From deepest dream I’ve woke, and plead:— Of late did I gaze into your eye, O life! And into the “The world is deep, unfathomable did I there seem to sink. “And deeper than the day could read, “Deep is its woe— Das Nachtwandlerlied (“The Night-Wanderer’s Song”): “Joy—deeper still than grief can be: At its climactic point, the dance is suddenly interrupted “Woe says: Hence! Go! by the “disgust” motif, first played fortissimo and “But joys all want eternity— then ever softer until we reach the final stage of “—Want deep, profound eternity!” Zarathustra’s journey, a removal from all active emotions and an ascent into a mystical realm where “deep Duration of complete work: 32:00 eternity” is embraced. This phrase is taken from the Last CSO performance(s) of work: 4/14/2012 with Jean-Marie poem “O Mensch, gib Acht!” (“O Man! Take heed!”) Zeitouni, conductor that appears in this section of Nietzsche’s book. (The same poem was set by Mahler in his Third Symphony, completed, like Strauss’s work, in 1896.) The theme of Notes by Peter Laki the “Great Longing” reappears with its sweet parallel thirds, before the music dissolves in a nothingness where only the work’s fundamental, irreconcilable contrast between the notes C and B remains.

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 15 bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 16 FRIDAY, OCTOBER 12, 2018, 8:00 P.M. SATURDAY, OCTOBER 13, 2018, 8:00 P.M. LEONARD BERNSTEIN CENTENNIAL CELEBRATION THE OHIO THEATRE Rossen Milanov, conductor Daniel Rowland, violin Jennifer Lynn Cherest, soprano Columbus Symphony Chorus Ronald J. Jenkins, chorus director • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • LEONARD BERNSTEIN Three Dance Episodes from On the Town . I The Great Lover II. Lonely Town III. Times Square LEONARD BERNSTEIN/ West Side Story: Suite for Violin and Orchestra WILLIAM DAVID BROHN Daniel Rowland, violin INTERMISSION

LEONARD BERNSTEIN Overture to Candide LEONARD BERNSTEIN “Glitter and Be Gay” from Candide Jennifer Lynn Cherest, soprano LEONARD BERNSTEIN/ Suite from Candide CHARLIE HARMON Columbus Symphony Chorus

THIS CONCERT IS DEDICATED IN MEMORY OF ANNETTE MOLAR.

ADDITIONAL SUPPORT PROVIDED BY MASTERWORKS HOTEL SPONSOR:

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 17 DANIEL ROWLAND

A passionate chamber musician, Daniel has performed with artists as diverse as Ivry Gitlis, Heinz Holliger, Gilles Apap, Marcelo Nisinman, Martin Frost, Elvis Costello, and Lars Vogt. He is a frequent guest at many of the foremost international chamber music festivals, and The Stift International Music Festival in Holland, of which he is the founder and artistic director, gave its 14th edition in August 2018.

Daniel is the first violin of the renowned Brodsky Quartet, with whom he has recorded many CDs for Chandos, and forms an acclaimed recital duo with pianist Natacha Kudritskaya.

Dutch/English violinist Daniel Rowland’s playing has Daniel was born in London, and started his violin been acclaimed as “wonderful, ravishing in its finesse” lessons in Enschede after his parents moved to by The Guardian, and “totally and truly charismatic” Twente in the eastern Netherlands. He studied with by Beeld, while The Herald praised his “astonishing Jan Repko, Davina van Wely, Herman Krebbers, Viktor sound and uniquely single-minded intensity.” Liberman, and Igor Oistrakh. Meeting Ivry Gitlis in 1995 was of great significance, leading to lessons in Daniel has established himself on the international Paris and, later to musical collaborations. scene as a highly versatile, charismatic and adventurous performer. Concerto performances in Daniel’s competition successes include first 2018 include Philip Glass with the Orchestre de prize at the 1995 Oskar Back competition at the Picardie and at the Kuhmo Festival, Lindberg Concerto Concertgebouw in Amsterdam. Daniel plays the in Joensuu, Berg in Dusseldorf and at the Stift “Ex-Rode” Guarneri del Gesù violin (Cremona ca. Festival, Bernstein with the Princeton and Columbus 1736), kindly on loan from the Dutch Musical Symphony Orchestras, Michel van der Aa in Mexico Instruments Foundation. He is professor of violin at and Vivaldi/Piazzolla Seasons in Dublin. the Royal College of Music in London.

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 18 JENNIFER LYNN CHEREST

Opera National Council (MONC) Auditions. Being a native Washingtonian, Ms. Cherest was thrilled to make her company debut with Washington National Opera in The Dialogues of the Carmelites in 2015, and since then has returned for five different shows, including her role debut as Gretel in Hansel & Gretel.

After a well-received debut as Zerlina in 2014 with North Carolina Opera, which was praised for her “warm and focused tone,” Ms. Cherest was invited back to sing Susanna in Le Nozze di Figaro, a role she debuted in Italy. She has won top honors in the Licia Albanese International Vocal Competition, the Boulder International Competition, and the Partners Soprano Jennifer Cherest has been praised as for the Arts Competition, as well as placing third “beautifully expressive and technically polished” by in the regionals of the MONC competition in 2013 the San Francisco Chronicle in the title role of and first the following year, sending her to the Mozart’s La Finta Giardiniera with the Merola Opera Met Semi-Finals. Program, and has begun to quickly make her mark in the opera world. Since finishing her prestigious Growing up on country music and musical theater, Adler fellowship with the San Francisco Opera in Ms. Cherest is a versatile performer who is at home 2013, Ms. Cherest has debuted with such companies in crossover and world-music repertoire, from Goliov’s as Washington National Opera, Cincinnati Opera, tribal work for soprano and chamber orchestra, North Carolina Opera, Opera Columbus, Opera Ayre, to Eliza Doolittle in My Fair Lady. Jennifer, an Delaware, and the Aspen Music Festival, and looks active individual offstage, can be found training forward to joining other wonderful companies like horses or in a yoga studio working on her handstand. Dallas Opera in the near future. Additionally, she is Jennifer resides in LaPlata, Maryland, and loves very honored to have sung on the Metropolitan Opera to return home to spend time with her family, dogs, Stage in the national semifinals of the Metropolitan and horses.

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 19 RONALD J. JENKINS, CSO chorus director

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

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 20 THE COLUMBUS SYMPHONY CHORUS

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

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

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 21 PROGRAM NOTES

Leonard Bernstein West Side Story, premiered in 1957, had all the (Lawrence, MA, 1918–New York, 1990) ingredients for worldwide success. With the help of a book by Arthur Laurents and lyrics by Stephen Anyone who saw Leonard Bernstein conduct even Sondheim, Bernstein adapted Shakespeare’s Romeo once, or heard only a single one of his legendary TV and Juliet in such a way as to convey a strong and broadcasts, will forever remain under the spell of one very timely social message (interethnic violence in of the greatest musicians in recent times. Bernstein New York). That message is powerfully expressed in the was equally at home in the world of Broadway musicals irresistible rhythms of this complex and often dissonant and classical opera; American jazz was second nature score, which at the same time sings a paean to true to him just like Beethoven or his great idol Mahler. As love and provides entertainment at the highest level. a composer, he brought these different worlds together, always striving to create works that aspired to the highest The unforgettable tunes of West Side Story make an musical standards while being perfectly accessible and equally strong impression in a purely instrumental characteristically American. performance. The orchestral suite, prepared with help from Sid Ramin and Irwin Kostal and known as The CSO›s centennial tribute to Bernstein focuses on Symphonic Dances, has long been a concert favorite, the three great musicals On the Town, Candide, and but it evidently did not exhaust the potential of this West Side Story. On the Town was written in 1944, immensely rich material. The eminent Broadway shortly after Bernstein›s first symphony (“Jeremiah”). arranger William David Brohn (1933-2017), who had This time the 26-year-old composer tackled a subject orchestrated the scores of the musicals Miss Saigon that was definitely non-biblical: three sailors on shore and Ragtime among many others, gave Bernstein’s leave decide to sink their teeth into the Big Apple; not music the Sarasate/Carmen treatment: he wrote a surprisingly, as they explore the sights of New York they virtuoso suite for solo violin along the lines of what also discover romance. (The plot has some similarities the 19th-century Spanish violinist-composer had done with Bernstein’s ballet Fancy Free, written earlier in the with Bizet’s opera. According to Bernstein’s daughter same year, but musically the two works are unrelated.) Jamie, Lenny had given Brohn his approval for such an arrangement shortly before his death, but the project Bernstein himself insisted that “the subject matter was was not completed until 2001. The violin suite was light, but the show was serious.” He was referring to written for Joshua Bell, who recorded it with David Zinman the show’s musical sophistication, which far exceeded and the Philharmonia Orchestra for Sony Classical. previous Broadway practice. Dissonances that one would think are at home only in modern “classical” music In Brohn’s arrangement, the medley begins, after a blend easily with Bernstein’s dynamic, jazz-influenced short introduction, with the famous “Mambo” theme. musical idiom. The violin enters with an extended cadenza, followed by a sequence of some of the best-known numbers The Three Dance Episodes we are going to hear tonight from the show, including “I Feel Pretty,” “Maria,” begin with “The Great Lover,” based on the musical’s hit “Tonight,” “America,” and “Somewhere,” ending with a song “New York, New York.” The three newcomers take brilliant flourish. a look around the city and begin to savor all that it may offer. In “Lonely Town,” the show’s major lyrical song, Duration of complete work: 19:00 the sailor Gabey grieves over not finding that special someone without whom even a big city can seem empty and desolate. “Times Square 1944” is based on the tune “I Get Carried Away,” a comic duet originally sung by the show’s two lyricists, Betty Comden and Adolph Green.

Duration of complete work: 10:00

Last CSO performance(s) of work: 1/10/2009 with Peter Stafford Wilson, conductor

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 22 PROGRAM NOTES

Rarely have questions of abstract philosophy been Glitter and be gay, treated in such an amusing way as in the novel Candide: That’s the part I play; or, the Optimist, published anonymously in France Here I am in Paris, France, in 1759. As it later turned out, the author of the book Forced to bend my soul was none other than Voltaire, the famous playwright, To a sordid role, poet, and philosopher, one of the leading figures of the Victimized by bitter, bitter circumstance. French Enlightenment. Voltaire, a life-long critic of Alas for me! Had I remained the Church, poked fun at the belief that this world, Beside my lady mother, created by an omnipotent and benevolent God, must be My virtue had remained unstained “the best of all possible worlds.” This belief was held, Until my maiden hand was gained among others, by Gottfried Wilhelm von Leibniz, one of By some Grand Duke or other. the most influential philosophers of the 18th century, Ah, ‘twas not to be; represented in Voltaire’s novel by the pretentious Harsh necessity schoolmaster Doctor Pangloss. The hero, Candide (the Brought me to this gilded cage. name doesn’t mean “candid” so much as “innocent” Born to higher things, and “naïve”) and his beloved Cunigonde go through the Here I droop my wings, most incredible misadventures, yet they never cease Ah! Singing of a sorrow nothing can assuage. to be faithful disciples of their teacher Pangloss. And yet of course I rather like to revel, Ha ha! Candide was perfect material for a Broadway musical; I have no strong objection to champagne, the show, based on a book by Lillian Hellman with lyrics Ha ha! by Richard Wilbur and others, opened on December 1, My wardrobe is expensive as the devil, 1956. The score, almost too ambitious for Broadway, Ha ha! eventually made the transition to the opera stage, and, Perhaps it is ignoble to complain... similarly to West Side Story which followed a year later, Enough, enough to the concert hall as well. Of being basely tearful! I’ll show my noble stuff The Overture to Candide uses two of the show’s greatest By being bright and cheerful! tunes, the love duet “Oh, Happy We” and Cunegonde’s Ha ha ha ha ha! Ha! “jewel song” (“Glitter and Be Gay”). The overture begins Pearls and ruby rings... with a lively “curtain” motif that will return at the end. Ah, how can worldly things Take the place of honor lost? Duration of complete work: 5:00 Can they compensate Last CSO performance(s) of work: 2/28/2018 with Peter Stafford For my fallen state, Wilson, conductor Purchased as they were at such an awful cost? Bracelets...lavalieres Can they dry my tears? To Bernstein, musical comedy was a modern American Can they blind my eyes to shame? equivalent of classical comic opera or the classical Can the brightest brooch German Singspiel, which had to be entertaining and Shield me from reproach? artistically challenging at the same time. With “Glitter Can the purest diamond purify my name? and Be Gay” he composed a true coloratura aria in the And yet of course these trinkets are endearing, tradition of Mozart’s Queen of the Night from The Magic Ha ha! Flute; the way Cunegonde takes pleasure in her diamonds I’m oh, so glad my sapphire is a star, also recalls (and parodies) Marguerite’s jewel aria from Ha ha! Gounod’s Faust. I rather like a twenty-carat earring, Ha ha!

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 23 PROGRAM NOTES

If I’m not pure, at least my jewels are! The orchestral suite from Candide that closes our program Enough! Enough! was compiled by Charlie Harmon, Bernstein’s personal I’ll take their diamond necklace assistant and archivist during the last years of his life, who And show my noble stuff also holds a degree in composition. (Earlier this year, Harmon By being gay and reckless! published a fascinating memoir entitled On the Road and Ha ha ha ha ha! Ha! Off the Record with Leonard Bernstein: My Years with the Observe how bravely I conceal Exasperating Genius.) The suite includes many of the most The dreadful, dreadful shame I feel. celebrated excerpts from the operetta, such as “You Were Ha ha ha ha! Dead You Know,” “Paris Waltz,” “Bon Voyage,” “Drowning Music/The King’s Barcarolle,” “Ballad of Eldorado,” “I Am Duration of complete work: 7:00 Easily Assimilated,” “The Best of All Possible Worlds,” and the finale, “Make Our Garden Grow.” Last CSO performance(s) of work: 10/15/2011 with Jean-Marie Zeitouni, conductor Duration of complete work: 5:00

Notes by Peter Laki

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bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 26 FRIDAY, OCTOBER 26, 2018, 8:00 P.M. SATURDAY, OCTOBER 27, 2018, 8:00 P.M. ITALIAN FESTIVAL SOUTHERN THEATRE Daniel Boico, conductor Rachel Barton Pine, violin • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • OTTORINO RESPIGHI Ancient Airs and Dances, Suite No. 3 . I Italiana II. Arie di corte III. Siciliana IV. Passacaglia

NICCOLÒ PAGANINI Concerto No. 1 in D Major for Violin and Orchestra, Op. 6 . I Allegro maestoso II. Adagio III. Rondo: Allegro spiritoso

Rachel Barton Pine, violin INTERMISSION

FELIX MENDELSSOHN Symphony No. 4 in A Major, Op. 90 (“Italian”) . I Allegro vivace II. Andante con moto III. Con moto moderato IV. Saltarello: Presto

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bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 27 DANIEL BOICO

At the St. Petersburg Conservatory, Boico studied under legendary professor Ilya Musin. He has gone on to perform with the Royal Philharmonic of London, the Berlin Radio Symphony, Israel Philharmonic, Deutsches Symphonie-Orchester Berlin, Moscow Philharmonic, Nürnberger Symphoniker, Taiwin Philharmonic, and Taipei Symphony. He has toured the Netherlands and Belgium with the Maastricht Symphony and performed across Italy and France with the Orchestra Filarmonica di Torino, with Shlomo Mintz as soloist.

Daniel has also served as assistant conductor of the New York Philharmonic, and as a cover conductor Described by critics as “dynamic, vigorous, exciting (at the invitation of Riccardo Muti) of the Chicago and imaginative—an undisputed star who combines Symphony’s Asia tour. With the Chicago Symphony magnetic charisma with a skilled technique,” he also assisted under the music directorship of conductor Daniel Boico is the newly appointed luminaries Daniel Barenboim, Pierre Boulez, and Associate Guest Conductor of the KwaZulu-Natal Zubin Mehta. Maestro Boico is a prize winner of Philharmonic Orchestra in Durban (South Africa). the Prokofiev and Pedrotti conducting competitions His innate musical sensitivity, paired with a keen and has conducted numerous world premieres, ear and fine musicianship, has produced exciting including conducting the ensemble I Virtuosi Italiani performances with orchestras in the United States, and soloist Dmitry Yablonsky in the highly praised Europe, Central and South America, Africa, and Asia. recording of Nino Rota’s two cello concertos on the 2017-2018 highlights include a return to Budapest Chandos label, Alcalde’s Der Mondbach III for cello to lead the MAV Orchestra and a performance at the and double string quartet with cellist Pable Chautauqua Music Festival. Mahave-Veglia for Eroica Classical Recordings, and Kalinnikov’s Symphony No. 1 with the Nürnberger Symphoniker for Bayerische Rundfunk.

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 28 RACHEL BARTON PINE

Galvanized by the fact that young people learning classical music seldom have the opportunity to study and perform music written by black composers, in October Pine’s RBP Foundation releases Music by Black Composers (MBC) Violin Volume I, the first book in its groundbreaking series of books of music exclusively by global black classical composers, which cover each orchestral instrument. Her October album Blues Dialogues: Violin Works by Black Composers (Cedille) also features classical music by black composers.

Pine’s past chart-topping albums include Mozart: Complete Violin Concerto, Sinfonia Concertante with A leading interpreter of the great classical masterworks, the Academy of St Martin in the Fields, Sir Neville violinist Rachel Barton Pine thrills audiences with Marriner conducting; Testament: Complete Sonatas her dazzling technique, lustrous tone, and emotional and Partitas for Solo Violin by Johann Sebastian honesty. With an infectious joy in music-making Bach; Bel Canto Paganini, and Elgar & Bruch Violin and a passion for connecting historical research to Concertos with the BBC Symphony, Maestro Andrew performance, Pine transforms audiences’ experiences Litton conducting. of classical music. Pine has appeared as soloist with many of the world’s Pine’s 2018-2019 season includes concerts with most prestigious ensembles, including the Chicago the Columbus and Phoenix Symphony Orchestras, and Vienna Symphonies, Philadelphia Orchestra, the Philharmonia Baroque Orchestra, the Orchestre Royal Philharmonic, Camerata Salzburg. Symphonique de Bretagne, and the Tel Aviv Soloists. She performs on the “ex-Bazzini ex-Soldat” At Festival Lanaudiere, Pine will perform “American Joseph Guarnerius del Gesu (Cremona 1742). Partitas,” a recital program of suites of dance rachelbartonpine.com movements composed for Pine by Bruce Molsky, Darol Anger, Billy Childs, and Daniel Bernard Roumain with the Bach Partitas that inspired them.

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 29 PROGRAM NOTES

Ancient Airs and Dances, Suite No. 3 (1931) Respighi turned to Chilesotti’s editions several times by Ottorino Respighi over the years, and compiled three suites from (Bologna, 1879–Rome, 1936) them between 1917 and 1931. In arranging these “ancient airs and dances,” Respighi wanted to create Once upon a time, many years and centuries ago, the instrumental parts that 20th-century players would find only music people wanted to hear was contemporary interesting. In the Third Suite, scored for strings only, music. During the age of Palestrina, no one performed we find a surprising variety of textures and techniques: the music of Dufay and Josquin, and in the time of violin, violas, and cellos each have opportunities to Bach, Palestrina was little more than a name that be leaders at various moments, and the parts are appeared in treatises of counterpoint, but the music peppered with instructions such as pizzicato (plucked itself was not well known. strings), harmonics, double and triple stops, and a broad dynamic range from pianissimo to fortissimo. The situation began to change gradually in the late 19th century, when Beethoven, Wagner, and others The suite begins with a movement in which Respighi took a series of radical steps in composition that some combined two separate galliard dances from the critics and audiences found rather hard to follow. As manuscript edited by Chilesotti. The second movement the gulf between contemporary composer and listener is a series of six brief airs de cour (“court airs”), or widened, earlier music came to be more and more French lute songs, originally published by Jean-Baptiste appreciated. Musical scholars became interested in Besard in 1603. The titles of the songs are: “C’est the Baroque, the Renaissance, and the Middle Ages, malheur que de vous aymer” (“It is a misfortune to and soon there were modern editions and performances be in love with you”), “Adieu, bergère, pour jamais” of an enormous repertory that had lain dormant for (“Farewell, shepherdess, forever”), “Beaux yeux qui hundreds of years. voyez éclairement” (“Lovely eyes that clearly see”), “La voilà la nacelle d’amour” (“Here is the skiff of The rediscovery of musical manuscripts started several love”), “Quelle divinité s’imprime dans mon âme” decades before the revival of early instruments and (“What divinity touches my soul”), and “Si c’est pour performance techniques. Therefore, during the early mon pucellage” (“If it is for my virginity”). Respighi years of the 20th century, Renaissance compositions chose to repeat the first song at the end of the set. were adapted to modern instruments and arranged, sometimes with considerable liberties taken, to make The third movement was called “Siciliana” by the music consistent with current tastes. Respighi, but it is actually a melody widely known and repeatedly arranged in the 16th century under the Ottorino Respighi was one of the first symphonic name “Spagnoletta.” composers to have a strong interest in early music. He was actively involved in the modern editions of works by The last movement, “Passacaglia,” was originally Monteverdi and other 17th- and 18th-century masters, and written for baroque guitar. It is the concluding piece was fascinated by lute music from the Renaissance and from a collection called Capricci armonici by Lodovico early Baroque. Much of this repertory had just become Roncalli, published in 1692. The celebrated lutenist, available in modern editions prepared by an Italian Columbus-born Paul O’Dette, who has recorded the scholar named Oscar Chilesotti (1848-1916), a pioneer pieces from the Respighi suites in their original forms, in the deciphering of the old lute notation (the so-called has noted: “The wide variety of strumming and plucking “tablature”). Chilesotti published several volumes of techniques employed by Roncalli are mirrored by solo lute pieces and lute songs in modern scores, Respighi’s colorful orchestration.” transcribing the accompaniment for piano in the spirit of the time. Duration of complete work: 19:00 Last CSO performance(s) of work: 11/5/2006 with Junichi Hirokami, conductor

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 30 PROGRAM NOTES

Violin Concerto No. 1 in D major (1817) It is interesting that Paganini originally notated the by Nicolò Paganini solo part in D major but the orchestral material in (Genoa, 1782–Nice, 1840) E-flat. This means that the violin had to be tuned a half-step higher than usual; the soloist played in D Had Paganini sold his soul to the devil? Or was he major but the music sounded in E flat. This scordatura actually the son of the devil? Unbelievable as it may lent an extra brightness to the sound. Nowadays, seem, these questions were actually being debated in however, this practice is obsolete; the soloist plays in the Viennese press in 1828, when Paganini came to D with the usual tuning and the orchestral parts have visit the Austrian imperial city. The rumors about been transposed down to that key as well. Paganini’s diabolical origins were so persistent that the violinist’s mother had to write an open letter to Duration of complete work: 26:00 the Viennese newspapers to deny them. Or rather, her Last CSO performance(s) of work: 10/3/1997 with Alessandro son had to write the letter for her, because she was by Siciliani, conductor; Charles Wetherbee, violin all accounts illiterate.

Why did Paganini have to defend himself against such Symphony No. 4 (“Italian”) in A major, outlandish charges? By the late 1820s, his reputation Op. 90 (1833) as the world’s greatest violin virtuoso had spread by Felix Mendelssohn beyond his native Italy, and audiences watched with (Hamburg, 1809–Leipzig, 1847) utter disbelief as he performed feats on the instrument that no one had previously thought possible. His facility During his stay in Italy in 1830-31, Felix Mendelssohn in executing rapid scale passages in double stops worked on two symphonies simultaneously. One was and the brilliance of his harmonics mystified even intended to capture the composer’s current impressions the best professional violinists. His very appearance of Italy, which he toured from Milan to Naples, the (a tall, thin man with long hair, curly side-whiskers, other to reflect on his journey to Scotland back in 1829. a pale countenance and an aquiline nose) struck many The Roman climate being hardly conducive to work on contemporaries as rather eerie. a Northern subject, it is no wonder that Mendelssohn finished the “Italian” Symphony first (he himself referred Yet Paganini’s critics invariably stressed the fact that to it by that name). The “Scottish” Symphony was not the artist transcended mere showmanship and completed until much later, in 1842. possessed great emotional depth in his playing. The German poet Ludwig Rellstab, listening to the D-major The two symphonies seem to complement one another concerto in Leipzig, said of the Adagio: “I have never in several ways. Not only were they inspired by two heard anyone weep like that in my life.” Those who completely different landscapes, but some of their knew that Paganini was plagued by serious health musical characteristics are also in contrast. The problems felt they could hear the voice of suffering “Scottish” Symphony is in A minor with a last movement coming from the violin. in A major, while the “Italian” Symphony is in A major with an A-minor finale. (It is much more unusual to end The first movement is an almost uninterrupted display a major-key symphony with a finale in the minor that of virtuoso fireworks that stop only occasionally to give the other way around.) the soloist a breather. The “weeping” second movement does not have a single double-stop or harmonic in it: it Without an introduction, the first movement of is a lyrical aria for violin that supposedly depicts a the “Italian” Symphony begins with an exuberant famous actor of the time delivering one of his most melody bursting with youthful energy. A 19th-century heart-rending speeches. The last movement, a rondo with commentator spoke about the “bright, sunny, laughing a memorable main theme, brings back the fireworks. freshness” of the symphony, a quality established right at the very beginning. Other themes in the movement

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 31 PROGRAM NOTES sing in parallel thirds, like a pair of lovers on an opera The third movement (Con moto moderato) is really a stage, or move about in light dance steps like the elves minuet with Trio, although Mendelssohn didn’t say so in A Midsummer Night’s Dream. explicitly. The minuet section looks back to the days of Haydn and Mozart with a touch of nostalgia. The Trio, The second-movement Andante con moto was probably with its Romantic horn calls and puckish violin-and-flute inspired by a processional song Mendelssohn heard theme, is more distinctly Mendelssohnian. After the in Rome. It is occasionally dubbed “Pilgrim’s March,” recapitulation of the minuet, the Trio theme is hinted because of a certain resemblance to the “Pilgrim’s at once more, before the movement ends suddenly in a March” from Berlioz’s Harold in Italy, another famous hushed pianissimo. “Italian Symphony” from the 1830s. Another explanation was proposed by musicologist Eric Werner, who traced The Presto finale is titled “Saltarello,” after a quick the theme of the Andante to a song by Mendelssohn’s folk dance of Southern Italy. Of its two main melodies, teacher, Carl Friedrich Zelter. The text of the song the first one is indeed a bouncing saltarello; the (“There was a King in Thule”) is from Goethe’s Faust, other, however, is a ceaselessly running tarantella (a in which Gretchen sings it as a ballad about a king in different kind of Italian folk dance). Whether saltarello a distant land who has lost his beloved. Goethe was or tarantella, however, the dance character dominates an important mentor to the young Mendelssohn, and the entire finale. It is only near the end that a more since both he and Zelter died within a few months in lyrical, slower-moving motif appears, but it is soon 1832, it is possible that Mendelssohn intended this swept up in the returning dance rhythms. movement as a memorial to two men who had played important roles in his life. Duration of complete work: 26:00 Last CSO performance(s) of work: 4/14/2005 with Giancarlo Guerrero, conductor (S12)

Notes by Peter Laki

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 32 bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 33 bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 34 FRIDAY, NOVEMBER 9, 2018, 8:00 P.M. SATURDAY, NOVEMBER 10, 2018, 8:00 P.M. HANDEL: MESSIAH THE OHIO THEATRE Rossen Milanov, conductor Alexandra Razskazoff, soprano Siena Licht Miller, mezzo-soprano Jonas Marcel Hacker, tenor Andrew Bogard, bass-baritone Columbus Symphony Chorus Ronald J. Jenkins, chorus director • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • GEORGE FREDERIC HANDEL/ Messiah WATKINS SHAW Part I Part II Part III

Alexandra Razskazoff, soprano Siena Licht Miller, mezzo-soprano Jonas Marcel Hacker, tenor Andrew Bogard, bass-baritone Columbus Symphony Chorus

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bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 35 ALEXANDRA RAZSKAZOFF

in the Schwabacher Summer Concert, and covered the title role in Gustav Holst’s S–avitri. Alexandra was an Apprentice at the Santa Fe Opera, where she covered Katie in Jennifer Higdon’s world premiere of Cold Mountain 2015, and returned in 2016 to cover Donna Elvira in Mozart’s Don Giovanni. Credits include Erste Dame in Die Zauberflöte and the Countess in Le nozze di Figaro at Juilliard, where she has pursued a Master of Music in vocal performance. At the Peabody Conservatory, where she received her Bachelor’s degree studying under Dr. Stanely Cornett, she sang Blanche de la Force in Poulenc’s Dialogues des Carmélites, Donna Elvira in Don Giovanni, Abigail Williams in Robert Ward’s Minnesotan soprano Alexandra Razskazoff is a first- The Crucible, and L’Écureuil in Ravel’s L’enfant et year Resident Artist at The Academy of Vocal Arts les sortilèges. under the direction of William Stone. In 2016-2017, Alexandra worked as a Resident Artist with the This October, Alexandra was awarded First Prize Minnesota Opera, where she sang Wellgunde in in AVA’s Giargiari Bel Canto Vocal Competition, Das Rheingold, Britomarte in Diana’s Garden, Miss and second place in the Mario Lanza Competition Alden in William Bolcom and Mark Campbell’s in Philadelphia. world premiere of Dinner at Eight, and Musetta in La bohème, while covering Juliette in Roméo In 2014, Ms. Razskazoff took second place in the et Juliette. Mid-Atlantic Region of the Metropolitan Opera National Council Auditions and received third place In summer 2017, Alexandra participated in the in the 2016 Houston Grand Opera’s Eleanor Merola Opera Program, where she performed in the McCollum Competition. Alexandra is a proud recipient title role in scenes from Donizetti’s Lucrezia Borgia of the Juilliard Novick Career Advancement Grant.

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Trouble in Tahiti, Beethoven’s Ninth Symphony at Oregon Symphony, and a recital with the Carnegie Hall Citywide Concert Series, which she will take on tour to the United Kingdom and Germany.

Recent engagements included the title role in L’enfant et les sortilèges with the Aspen Music Festival and appearances with Curtis Opera Theatre in the title role in The Rape of Lucretia. In addition, Siena appeared in concert as the alto soloist in Beethoven’s Ninth Symphony with Symphony in C. Siena has worked with master artists such as Renée Fleming, Robert Spano, Placido Domingo and Graham Johnson. Invited by Marilyn Horne, Siena had the German-American mezzo-soprano Siena Licht Miller privilege of participating in the legendary mezzo’s is quickly making a name for herself in both the final year of leading The Song Continues series at opera and concert worlds. After her professional Carnegie Hall this past January. debut as Second Lady in Die Zauberflöte with Opera Philadelphia, Siena returns this season in two Siena is an alumna of the Oberlin Conservatory recitals as a part of their ground-breaking O18 of Music, the Gerdine Young Artist Program at Festival and as Hermia in A Midsummer Night’s Opera Theatre of Saint Louis, the Chautauqua Dream. This summer, Siena was a member of Santa Institute, and the Aspen Music Festival. Originally Fe Opera’s Apprentice Program, covering Kitty from Portland, Oregon, Siena entered the Curtis Oppenheimer in Doctor Atomic and Suzuki in Madame Institute of Music in 2016 and is currently based Butterfly. Highlights for the 2018-2019 season in Philadelphia. include the title role in Dido and Aenaes, Dinah in

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 37 JONAS MARCEL HACKER

concert with Jane Glover and Music of the Baroque in Mozart’s Requiem, and with The Cleveland Orchestra as the Tanzmeister in Ariadne auf Naxos under Music Director Franz Welser-Möst. He also returns to The Philadelphia Orchestra for performancs of Handel’s Messiah with Music Director Yannick Nézet-Séguin. Further performances include his role debut as Almaviva in The Barber of Seville with Annapolis Opera and Messiah with Columbus Symphony Orchestra. Recent performances for Mr. Hacker include his Lyric Opera of Chicago debut as Timothy Laughlin in Gregory Spears’ Fellow Travelers and his Opera San Jose debut in Cinderella, an opera by Alma Deutscher, the fast rising 12-year old A 2016 Grand Finalist of the Metropolitan Opera British prodigy. Hacker opened the previous season National Council Auditions, tenor Jonas Hacker returning to Annapolis Opera as Theodore “Laurie” regularly receives high praise for his “attractive Lawrence in Little Women, the company with whom tenor voice” and his ability to convincingly portray he made his professional debut in 2015 as Ferrando characters across genres from Mozart to Glass. In in Così fan tutte. Mr. Hacker also returned to the 2018-19 season, he continues making debuts Washington Concert Opera, where he was heard in throughout the United States including with The the role of Osburgo in Bellini’s La straniera. In the Dallas Opera as Edmondo in Manon Lescaut, in summer of 2018, Mr. Hacker join the prestigious Mozart Residency at Festival d’Aix-en-Provence.

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 38 ANDREW BOGARD

Furnace; and with Curtis Opera Theatre as Nick Shadow in Stravinsky’s The Rake’s Progress, Alidoro in Rossini’s La Cenerentola, Dulcamara in L’elisir d’amore, Spencer Coyle in Britten’s Owen Wingrave, Dr. Reischmann in Henze’s Elegy for Young Lovers, and Mephistopheles in Gounod’s Faust.

An avid oratorio and symphonic singer, his performances include Jesus in Bach’s St. Matthew Passion with Mendelssohn Club and Chamber Orchestra Philadelphia, bass soloist in Handel’s Messiah with the Park Avenue Chamber Orchestra and Marion Civic Orchestra, and Raphael/Adam in The Creation with Symphony in C and the Andrew Bogard hails from Columbus, Ohio and holds Mendelssohn Club of Philadelphia. his Master of Music degree from the Curtis Institute of Music and a Bachelor of Music degree from Andrew won first place in the 2014 Mario Lanza The Juilliard School. Scholarship Competition, second place and audience choice in the 2015 Opera Columbus Cooper-Bing This season Andrew joins the ensemble of Oper Competition, and was a Mid-Atlantic regional Stuttgart where he can be heard as Schaunard in finalist and encouragement award recipient in the La bohème, Yamadori in Madama Butterfly, Peter 2015 MET Competition. Schlemihl in The Tales of Hoffmann, Third Nobleman in Lohengrin, and Fourth Jew in Salome. Andrew was a member of many prestigious training programs, including the Washington National Opera, Andrew’s opera credits include performances with Palm Beach Opera, Opera Philadelphia, Festival Washington National Opera’s Young Artist Program, d’Aix Mozart residency, Aspen Opera Center, and where he sang the title role in Le nozze di Figaro Santa Fe Opera. and Leporello in Don Giovanni; as an emerging artist with Opera Philadelphia as Dottore Grenvil in Verdi’s La traviata and Maestro in Golijov’s Ainadamar; with Ballet Opera Pantomime Montreal as The Abbott in Britten’s Curlew River and Burning Fiery

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 39 THE COLUMBUS SYMPHONY CHORUS

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

SOPRANO ALTO TENOR BASS I Shelly Beaty Aubrey Bailey Andrew Doud Greg Bennett Laura Byars Andrea Brown Hector Garcia Steve Crawford Jennifer Cahill Caitlin Byrne Roger Gill Tracy Ediger Rachel Dalton Gwen Carmack Nicolas Gonzales Jordan Elkind Andrea Dent Kelli Clawson Ernest Hoffman Gary Everts Ruth Hall Deborah Forsblom Dustin Jarred Jacob Grantier Jordan Kapsch Susan Garcia Dameon Jones Michael Malone Dawn Knoch Jasmine Marks Arthur Marks Kent Maynard Alexa Konstantinos Sandra Mathias Phil Minix Robert I. Moreen Miriam Matteson Jane Matyskella Kevin Mulder Denis Newman-Griffis Amy Parker Amy Weiner Nathans Tim Owens Rob Shacklett Melinda Patterson Wendy Rogers Paul Ricketts Andrew Shadwick Heather Poole Laura Smith Christian Slagle Nick Tepe Gail Gilbert Storer Anna Weber Craig Slaughter Michael Toland Emily Weatherspoon Kathryn Willer Dwayne Todd Keith Whited Sharon Wilson Ed VanVickle Peter Woodruff Kelly Winner Daniel Willis Jennifer Young

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Messiah (1741) Messiah is also the only Handel oratorio whose first by George Frideric Handel performance took place outside England (namely, (Halle, Saxony, 1685 – London, 1759) in Dublin, Ireland), although we don’t know for sure whether it had been intended for Handel’s Dublin Handel’s Messiah is one of those masterpieces we season from the start. What we do know is that like to call “timeless” because we are so used to them Handel left London for Dublin about two months after that it is sometimes hard to imagine that they weren’t completing Messiah, and stayed there for nine months, always with us. Also, being by far the composer’s most during which time he gave two full subscription series popular composition, some people might assume of six concerts each, consisting of earlier oratorios and it is the quintessential Handel oratorio. The truth, even one of Handel’s Italian operas in concert form. however, is that Messiah is very much a product of its Messiah, performed on April 13 at the end of the season, time, and it is actually a rather unusual case among completed this “baker’s dozen” of Dublin concerts. Handel’s works. The capital of English-dominated Ireland had a fairly Handel turned to oratorio-writing in the 1730s, after the rich artistic scene at the time, with considerable local Italian opera company he had founded and directed in talent complemented by artists coming from London. London was forced out of business by the competition. Handel found a grateful and receptive audience there, Replacing secular subject matters with sacred ones packing a “Great Music Hall” on Fishamble Street was not in itself the most far-reaching element of that was not nearly large enough for an event of this change—after all, Italian opera and Italian oratorio were magnitude. The most prominent members of Dublin stylistically not very far removed from one another. More high society were all there, among a crowd of about important was the switch from the Italian language to 700 people. The Dublin Journal, which had called the English, which directly affected musical style— not to work “the finest Composition of Musick that ever was mention the fact that Handel now had to rely on local heard” after the public dress rehearsal, wrote after the singers, not great stars imported from the continent. official premiere:

Handel had practically no precedents to build on when Words are wanting to express the exquisite Delight he wrote his first English oratorios. His first essay in it afforded to the admiring crouded Audience. The the new genre was Esther, first conceived as a shorter Sublime, the Grand, and the Tender, adapted to work back in 1718, during what was only a temporary the most elevated, majestick and moving Words, break in Handel’s Italian opera production. Esther was conspired to transport and charm the ravished Heart considerably revised and expanded for a 1732 revival, and Ear. now quickly followed by Deborah, Athalia, Saul, and Israel in Egypt. All these oratorios (as well as many of Soon after his return to London, Handel produced the later ones) are based on dramatic stories from the Messiah at Covent Garden and, due to the great Old Testament, with the exception of Athalia, which success, revived it every few years for the rest of his is an adaptation of a tragedy by Racine. Messiah is life. He led his final Messiah performance on April 6, unusual in that it is based on both the New and the 1759, eight days before his death and long since Old Testaments, and that it has no dramatic action or completely blind. After his death, the tradition of annual named characters: it is a retelling of the life of Christ Messiah performances continued, and spread to the through a judicious selection of Bible verses, compiled European continent and the United States. It never for Handel by a gentleman named Charles Jennens. (A needed to be revived, for it never went out of fashion son of a wealthy family who owned large estates in the during the 277 years of its existence. country, Jennens devoted himself to literary, artistic, and political pursuits in London. A great admirer of From 1742 until his death, Handel made many revisions Handel’s music, he served the composer as librettist not in the score, transposing arias to different vocal ranges, only in Messiah but in Saul, Belshazzar, and, possibly, even deleting numbers and adding new ones, so that Israel in Egypt as well.) the work now exists in a multitude of versions, forcing

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 41 PROGRAM NOTES performers to make choices that are not always easy. in the aria “If God Be For Us,” before the chorus makes The Watkins Shaw edition, based on a careful study of its final proclamation in “Worthy Is the Lamb.” We all sources, is the most widely used version today. see, then, how Jennens’s Biblical collage makes both theological and dramatic sense, as it provides a logical The three parts of Messiah correspond to Nativity, train of thought by arranging a large number of religious Passion, and Resurrection, making the work equally topics in a unified and highly compelling sequence. suitable for performance during the Christmas and Easter seasons. In this country, Messiah has long been This dramatic logic, which makes up for the absence of a special Christmas tradition, with churches often a “plot” in the conventional sense, enabled Handel to presenting performances or sing-alongs of Part I alone. write music that illustrated each topic, but also did Yet the work only takes its full meaning in its entirety, infinitely more than that. One could say that the text surveying Christ’s entire life story in which birth, death takes its full meaning only when joined by the music. and eternal life become inseparable. Handel placed his contrapuntal virtuosity in the service of drama in the great choral fugues (“And With His AFTER THE OVERTURE, the first half of Part I deals with Stripes,” and “He Trusted in God”), and bent the strict “God’s Promise.” Within that section, the joyful news rules of fugue-writing in numerous ways to suit his (“Ev’ry Valley Shall Be Exalted”) is contrasted with dramatic purpose. Often, as in “And He Shall Purify” the fearful challenge this news may represent to the or “For Unto Us A Child Is Born,” the first voice drops world (“But Who May Abide the Day of His Coming?”). out when the second, imitating voice enters. It is an Feelings of joy again predominate in “O Thou That unorthodox practice that reduces the counterpoint and Tellest Good Tidings in Zion”. Then, after an image of even eliminates it completely at times, yet it emphasizes “the people that walked in darkness” seeing “a single parts from the chorus almost as if they were great light,” the “Promise” section culminates in the individual characters in a drama. The arias have obvious proclamation of the “Wonderful Counsellor, the mighty links to the style of Italian opera in which Handel worked God, the everlasting Father, the Prince of Peace.” for so many years; yet Handel tended to move away from the standard “da-capo” form which, with its Part I then continues with the famous Pifa or “Pastoral insistence on repeating the entire first half after the Symphony,” an instrumental movement symbolizing middle section, could impede the dramatic flow. There the birth of the Child, followed by the angels’ hymn of is only one aria with a full repeat of its first section: praise. The message of joy and comfort is reiterated as “He was despised.” “The Trumpet Shall Sound” has an Part I closes. almost full repeat, with the instrumental introduction omitted the second time. This message contrasts dramatically with the opening of Part II, where the Lamb of God is seen suffering, Maybe the most unique quality of the music of “despised and rejected,” and the world, “gone astray Messiah is its combination of religious feeling with like sheep,” becomes aware of the price of redemption. uncommon vigor and natural robustness. Despite Part II then reflects on the Passion without literally moments of grief and tragedy which are by no means recounting its events, anticipates Resurrection and, after downplayed in the music, Messiah, from the opening a powerful portrayal of the forces of evil, moves on to Overture to the final “Amen,” really bursts with life. the final defeat of those forces and the proclamation of Which may well be one of the reasons why we don’t victory in the celebrated Hallelujah chorus. want to be without this work at any time of the year.

The main motive of Part III is the conquest of Death FURTHER READING by Life, expressed in turn through an individual’s Those who desire a detailed, movement-by-movement confession of faith (“I Know that My Redeemer Liveth”), description of Messiah can be referred to Jens Peter a communal statement (“Since By Man Came Death”) Larsen’s classic study (Handel’s Messiah: Origins, and the glorious announcement of Judgment Day Composition, Sources. 2nd edition: New York: W.W.Norton, complete with the angel’s trumpet (“The Trumpet Shall 1972). Donald Burrows published a concise discussion Sound”). One last time we turn to a personal reflection of the work in the Cambridge Music Handbook

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Series (1991). Richard Luckett’s Handel’s Messiah: Chorus A Celebration (Orlando: Harcourt Brace, 1992) is a And he shall purify the Sons of Levi, that they may offer unto richly illustrated and highly readable account, while the Lord an Offering in Righteousness. Thomas F. Kelly tells the story of the first performance (Malachi 3,3) based on a large number of contemporary documents in his delightful book First Nights: Five Musical Premieres Recitative (Alto) (New Haven: Yale University Press, 2000). Behold, a virgin shall conceive, and bear a Son, and shall call his Name Emmanuel, God with us. (Isaiah 7, 14; Matthew 1, 23) PART I Sinfonia Air (Alto) and Chorus Accompagnato (Tenor) O thou that tellest good Tidings to Zion, get thee up into Comfort ye, comfort ye my People, saith your God; the high Mountain: O thou that tellest good tidings to speak ye comfortably to Jerusalem, and cry unto her, Jerusalem, lift up thy Voice with Strength: lift it up, be that her Warfare is accomplish’d, that her Iniquity is pardon’d. not afraid: Say unto the Cities of Judah, Behold your The Voice of him that crieth in the Wilderness, prepare ye the God. O thou that tellest good Tidings to Zion, arise, Way of the Lord, make straight in the Desert a Highway for shine, for thy Light is come, and the Glory of the Lord is risen our God. upon thee. (Isaiah 40, 1-3) (Isaiah 40, 9; Isaiah 60.1) Air (Tenor) Accompagnato (Bass) Ev’ry valley shall be exalted, and ev’ry Mountain and For behold, Darkness shall cover the Earth, and gross Hill made low, the Crooked straight, and the rough Darkness the People: but the Lord shall arise upon thee, and places plain. his Glory shall be seen upon thee. And the Gentiles shall (Isaiah 40, 4) come to thy Light, and Kings to the Brightness of thy Rising. (Isaiah 60. 2-3) Chorus And the glory of the Lord shall be revealed, and all Flesh shall Air (Bass) see it together; for the Mouth of the Lord hath spoken it. The people that walked in Darkness have seen a great (Isaiah 40, 5) Light; and they that dwell in the Land of the Shadow of Death, upon them hath the Light shined. Accompagnato (Bass) (Isaiah 9,2) Thus saith the Lord of Hosts; Yet once a little while, and will shake the Heav’ns and the Earth; the Sea and the Chorus dry Land: and I will shake all Nations: and the Desire For unto us a Child is born, unto us a Son is given; and of all Nations shall come. the Government shall be upon his Shoulder; and His Name (Haggai 2, 6-7) shall be called Wonderful, Counsellor, The Mighty God, The The Lord whom ye seek shall suddenly come to his Temple, Everlasting Father, The Prince of Peace. ev’n the Messenger of the Covenant, whom ye delight in: (Isaiah 9,6) Behold He shall come, saith the Lord of Hosts. Pifa (Pastoral Symphony) (Malachi 3,1) Recitative (Soprano) There were Shepherds abiding in the Field, keeping Air (Alto) Watch over their Flock by Night. But who may abide the day of his coming? And who (Luke 2,8) shall stand when He appeareth? For He is like a Refiner’s Fire. (Malachi 3,2)

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Accompagnato (Soprano) Chorus And lo, the Angel of the Lord came upon them, and the His Yoke is easy, his Burthen is light. Glory of the Lord shone round about them, and they (Matthew 11, 30) were sore afraid. (Luke 2,9) PART II Recitative (Soprano) Chorus And the angel said unto them, Fear not; for behold, I Behold the Lamb of God, that taketh away the Sin of bring you good Tidings of great Joy, which shall be to the World. all People. For unto you is born this Day, in the City of David, (John 1,29) a Saviour, which is Christ the Lord. (Luke 2,10-11) Air (Alto) He was despised and rejected of Men, a Man of Accompagnato (Soprano) Sorrows, and acquainted with Grief. And suddenly there was with the Angel a Multitude of (Isaiah 53,3) the heav’nly Host, praising God, and saying… (Luke 2,13) Chorus Surely he hath borne our Griefs and carried our Sorrows: He Chorus was wounded for our Transgressions, He was bruised for our Glory to God in the Highest, and Peace on Earth, Good Will Iniquities; the Chastisement of our Peace was upon Him. towards Men. (Isaiah 53,4-5) (Luke 2,14) Chorus Air (Soprano) And with His Stripes we are healed. Rejoice greatly, O Daughter of Zion, O Daughter of (Isaiah 53,5) Jerusalem; behold, thy King cometh unto thee: He is the righteous Saviour; and He shall speak Peace unto Chorus the Heathen. All we, like Sheep, have gone astray, and we have turn’d (Zechariah 9,9-10) ev’ry one to his own Way, and the Lord hath laid on Him the Iniquity of us all. Recitative (Alto) (Isaiah 53,6) Then shall the Eyes of the Blind be open’d, and the Ears of the Deaf unstopped; then shall the lame Man leap Accompagnato (Tenor) as a Hart, and the Tongue of the Dumb shall sing. All they that see Him laugh Him to scorn; they shoot (Zechariah 35,5-6) out their Lips, and shake their Heads, saying… (Psalm 22,7) Air (Alto and Soprano) He shall feed his Flock like a Shepherd: and He shall Chorus gather the Lambs with His Arm, and carry them in his He trusted in God, that He would deliver Him; let Him deliver Bosom, and gently lead those that are with young. Him, if He delight in Him. Come unto Him all ye that labour, come unto Him all ye that are heavy laden, and He will give you Rest. (Psalm 22,8) Take his Yoke upon you and learn of Him; for He is meek and lowly of Heart: and ye shall find Rest unto Accompagnato (Tenor) your souls. Thy Rebuke hath broken His heart; He is full of Heaviness: He looked for some to have Pity on Him, (Isaiah 40,11; Matthew 11, 28-29) but there was no Man, neither found He any to comfort Him. (Psalm 69,21)

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Arioso (Tenor) PART III Behold, and see, if there be any Sorrow like unto Air (Soprano) His Sorrow! I know that my Redeemer liveth, and that He shall stand at the latter Day upon the Earth: and tho’ (Lamentations 1,12) Worms destroy his Body, yet in my Flesh shall I see God. For now is Christ risen from the Dead, the Accompagnato (Tenor) First-Fruits of them that sleep. He was cut off out of the Land of the Living: For the Transgression of thy People was He stricken. (Job 19,25-26; 1 Corinthians 15,20) (Isaiah 53,8) Chorus Since by Man came Death, by Man came also the Air (Tenor) Resurrection of the Dead. For as in Adam all die, even But thou didst not leave His soul in Hell, nor didst so in Christ shall all be made alive. Thou suffer Thy Holy One to see Corruption. (1 Corinthians 15,21-2) (Psalm 16,10) Recitative (Bass) Air (Bass) Behold, I tell you a Mystery: We shall not all sleep, but Why do the Nations so furiously rage together? And why do we shall all be chang’d, in a Moment, in the Twinkling the People imagine a vain Thing? The Kings of the Earth rise of an Eye, at the last Trumpet. up, and the Rulers take Counsel together against the Lord and against his Anointed. (1 Corinthians 15, 51-2) (Psalm 2,1-2) Air (Bass) The Trumpet shall sound, and the Dead shall be Chorus rais’d incorruptible, and We shall be chang’d. For this Let us break their Bonds asunder, and cast away their Yokes corruptible must put on Incorruption, and this Mortal from us. must put on Immortality. (Psalm 2,3) (1 Corinthians, 15, 52-4) Recitative (Tenor) Chorus He that dwelleth in Heaven shall laugh them to scorn; Worthy is the Lamb that was slain, and hath redeemed the Lord shall have them in Derision. us to God by His Blood, to receive Power, and Riches, (Psalm 2,4) and Wisdom, and Strength, and Honour, and Glory, and Blessing. Blessing and Honour, Glory and Pow’r be Air (Tenor) unto Him that sitteth upon the Throne, and unto the Thou shalt break them with a Rod of Iron; thou shalt Lamb, for ever and ever. Amen. dash them in pieces like a Potter’s Vessel. (Revelation 5,12-14) (Psalm 2,9)

Chorus Duration of complete work: 2:00:00 Hallelujah! For the Lord God Omnipotent reigneth. The Kingdom of this World is become the Kingdom of our Last CSO performance(s) of work: 11/20/2010 with Ronald Lord and of His Christ; and He shall reign for ever and ever, Jenkins, conductor; Heidi Grant Murphy, soprano; Andrew Foster- King of Kings, and Lord of Lords. Hallelujah! Williams, baritone; C. Andrew Blosser, tenor; Jay Carter, counter tenor; Jacob Stuckert, boy soprano (Revelation 19,6; 11,15; 19,16) Notes by Peter Laki

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BOARD OF TRUSTEES ADMINISTRATION Lisa Barton, Chair Robert E. Morrison, Jr., Vice Chair executive Denise Rehg, Alan Litzelfelner, Treasurer Executive Director Sandy Osterholtz, Executive Assistant TRUSTEES artistic operations Matthew Allyn Pavana Stetzik, General Manager G. Ross Bridgman Daniel Walshaw, Robert Cochran Director of Artistic Planning and Business Development Michael P. Foley Daren Fuster, Personnel and Community Kenneth M. Freedman Engagement Manager Hector Garcia Jean-Etienne Lederer, Principal Librarian Jack George William Lutz, Marilyn Harris Stage Manager Cindy Hilsheimer development Stephanie Davis Wallace, PhD, Michelle Kerr Donor Relations Manager Talvis Love Susan Ropp, Foundations and Grants Manager Varun Mahajan MD, DABR Katie Cullen, Jane Mattlin Data Analyst and Project Manager David Milenthal education and community outreach Christine Shumway Mortine Jeani Stahler, Gay Su Pinnell Director of Education Brandi Daramola, Amy Shore Youth Orchestra Manager Steve Snethkamp finance Michael Weiss John Callahan, Director of Finance Nelson Yoder Linda Matheis, Accountant marketing EX-OFFICIO TRUSTEES Kathy Karnap, Lyn Savidge Director of Marketing Holly Wiencek, Jane McKinley Marketing Coordinator Karl Pedersen Rolanda Copley, Publicist Betsy Sturdevant ticketing Mike Marks, Director of Ticketing Billy Boyd, HONORARY TRUSTEES Subscription Sales & Ticket Manager Gene D’Angelo JoLane Campbell, Group Sales Ron Pizzuti Zuheir Sofia

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 47 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 Deborah Norris Matthews Mrs. Norman T. Smith Lois H. Allen Sandy Green Eloise McCarty Pat Sprouse Patricia Barton Marjorie Gurvis Linda McCutchan Vera Spurlock Mary Beitzel Helen Hall Jane McKinley Libby Stearns Mrs. Rhoma Berlin Winona Hamilton Barbara McSheffery Evelyn Stevens Kathie Boehm Anne Highland Peggy Merrill Eleanor Stottlemyer Jean Borghese Diane Hockman Betsy Mincey Louise Swanson Mrs. Richard A. Brown Betty Holland Janice G. Minton Jan Teter Dorothy Loew Cameron Jacqueline Holzer Gretchen Mote Jean Teteris Louise Carle Lois Hornbostel Barbara McAdam Muller Angela M. Thomas Patricia Carleton Rose Hume Sandy Murray Frances Thurman Donna Cavell Susan Hutson Barbara Mustric Muriel Tice Ann Christoforidis Darlene Jones Mrs. Peter Neckermann Claryss B. Tobin Barbara L. Chuko Penny Jones Betsy Nichols Caryl Trittipo Diane Conley Gisela Josenhans Therese Nolan Martha Tykodi Patricia Cooke Melba Kabelka Alice Nowaczek Georgia L. Verlaney Janet Cox Dianne Keller-Smith Sandy Osterholtz Jan Wade Sidney Dill Lenna Klug Ilona Perencevich Shirley Wagner Monica Dunn Nancy Koeninger Katie Potter Dr. Stephanie Gussie Dye-Elder Nancy Kolson Sandra Pritz Davis Wallace Flo Ann Easton Denise Kontras Victoria Probst Joan Wallick Jeanine Ellis Barbara Lach Tricia Raiken Barbara Weaver Mary Jane Esselburne JoAnne Lang Denise Rehg Eloise Weiler Patricia Evans Sarah Larrimer Maryann Rinsch Marilyn P. Wenrick Mary Lou Fairall Mary Lazarus Jodi Ross Babette Whitman Nancy Fisher Nancy Lee Jeannine Ryan Amanda Wilson Joan Foucht Jocelyn Lieberfarb Lu Sarver Cynthia Woodbeck Pauline Fritz Donna Lyon Nancy Savage Sally Woodyard Donna Gerhold Susan J. Mancini Ernette Schultz Mary Lou Wright Pat Gibboney Janet Mann Lois Sechler Marjorie Wylie Valerie Gibbs Janice Marks Debi Seckel Carol Zanetos Barbara E. Goettler Marianne Mathews Ann McKinnon Seren Harriet Grail Sondra A. Matter Barbara Shafer

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 48 COLUMBUS SYMPHONY LEAGUE

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

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

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

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 49 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) Cindy and Larry Hilsheimer Jane P. Mykrantz and Advanced Drainage Systems Fred and Judy Isaac Kiehner Johnson Lois H. Allen Nancy Jeffrey Gay Su Pinnell Lisa and Chris Barton Mr. Eric T. Johnson and Wayne and Cheryl Rickert Mrs. Rhoma Berlin Dr. Rachel G. Mauk Andy and Sandy Ross Jim and Susan Berry Steve and Diane Jones Amy and Alan Shore Mr. and Mrs. James L. Boggs Frank and Linda Kass George and Patricia Smith Mr. and Mrs. Thomas H. Brinker Mary Lazarus Kim and Judith Swanson Robert and Susan Cochran Alan and Ginny Litzelfelner Sheldon and Rebecca Taft Ted and Lynn Coons Nancy and Tom Lurie Jennifer Tiell and Mark Adelsperger Janet and Robert Cox Don Lynne David H. Timmons Dr. and Mrs. Jerome J. Cunningham Albert N. and Susan J. Mancini Craig D. and Connie Walley Marvin E. Easter Emily McGinnis Dr. Gifford Weary and Cornelia B. Ferguson Lawrence and Katherine Mead Mr. David Angelo Francille and John Firebaugh Barbara and Mervin Muller Thomas and Gwen Weihe The Rev. Earl and Pauline Fritz Tom and Melanie Murray William and Jane Wilken Jack and Joan George

CORPORATE AND FOUNDATION PARTNERS

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

$150,000 AND ABOVE Honda of America Mfg. Siemer Family Foundation American Electric Power Infinite Energy Vorys, Sater, Seymour and Pease, LLP Greater Columbus Arts Council John Gerlach and Company LLP Washington Prime Group Nationwide Johnstone Fund for New Music The Waterworks Nationwide Foundation Martha Holden Jennings Foundation Ohio Arts Council OhioHealth $2,750-$4,999 The Columbus Foundation PNC Aetna The Reinberger Foundation Continental Office $100,000-$149,999 Renewal by Andersen Epcon Communities Inc. L Brands Safelite AutoGlass Ernst and Young LLP The Woodhull Fund of GBQ $50,000-$99,999 The Columbus Foundation The Harry C. Moores Foundation Cardinal Health Hinson Family Trust CDDC/Capitol South $5,000-$9,999 Hollywood Casino Huntington Bank Abercrombie and Fitch King Business Interiors The Jeffrey Company The American Legion Department of Ohio Lifestyle Communities Cameron Mitchell Premier Events Live Technologies LLC $25,000-$49,999 Crane Group McGohan Brabender Central Management Company Crawford Hoying Plante Moran, PLLC Columbus Symphony League Hamburg Fireworks Schneider Downs Friends of the Columbus Symphony Heartland Bank Taft, Stettinius and Hollister Mattlin Foundation Heidelberg Distributing Co. Thompson Hine LLP PNC Arts Alive Huntington Private Bank Wasserstrom Lightwell White Castle Management Co. $10,000-$24,999 Limited Brands Advanced Drainage Systems Loeb Electric $1,000-$2,749 Battelle Merrill Lynch Alliance Data Big Lots Mount Carmel Health System Grange Insurance CAPA Ohio Foam Corporation KPMG Edward Jones Pepsi New Visions Group, LLC Giant Eagle Market District Porter Wright Morris & Arthur, LLP The Robert Weiler Company Graeters - Bethel/Corporate Rise Brands Value City Furniture Greif, Inc. (Education)

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 50 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 Mr. and Mrs. C. John Easton $1,200-$2,749 Jack and Joan George Jeff and Lisa Edwards Anonymous (3) Anne Melvin* Cornelia B. Ferguson Tara Abraham Michael and Kris Foley Matt and Tiffany Allyn $150,000-$249,999 The Rev. Earl and Pauline Fritz Sine-Marie Ayres Gay Su Pinnell James P. Garland and Carol J. Andreae Rita Barnum Mr. Jeff Harris Paul and Tere Beck $50,000-$149,999 Mr. Eric T. Johnson and Alfred H. Bivins Anonymous Dr. Rachel G. Mauk Nadine Block Mrs. Rhoma Berlin Mike and Linda Kaufmann Jim and Margaret Boggs Andy and Sandy Ross Don Lynne Drs. Patricia and James Caldwell Sheldon and Rebecca Taft Albert N. and Susan J. Mancini Paul Carbetta Matteson Garcia Family Derrick R. Clay $25,000-$49,999 Lawrence and Katherine Mead Pam Conrad Anonymous (4) Rossen Milanov Jeffrey and Lorie Copeland Lisa and Chris Barton David and Bonnie Milenthal Janet and Robert Cox G. Ross and Patricia Bridgman Annette Molar* Beth Crane and Richard McKee Robert and Susan Cochran Robert and Lori Morrison Jim Crane and Laura Dehlendorf CSO Musicians Outreach Fund of Tom and Melanie Murray Mr. Carl D. Cummins The Columbus Foundation Jane P. Mykrantz and Kiehner Johnson Mr. and Mrs. Thomas Driskell Dr. and Mrs. Jerome J. Cunningham Ron and Ann Pizzuti Marvin E. Easter Ann Ekstrom* Anne Powell-Riley Francille and John Firebaugh Nancy Jeffrey Martyn and Lynne Redgrave Alex Fischer and Lori Barreras Denise Rehg Tadd and Nancy Seitz Kenneth Freedman George D. Ryerson* Robert and Ann Shelly Judy Garel Mr. and Mrs. Michael Weiss Emily and Antonio Smyth Donald and Eydie Garlikov Steve Snethkamp Barbara E. Goettler $10,000-$24,999 Alden* and Virginia* Stilson Robert C. and Beverly A. Goldie Anonymous (3) Craig D. and Connie Walley Linda and Bill Habig Lois H. Allen Dr. Gifford Weary and Mr. David Angelo Richard Hillis Tom W. Davis Thomas and Gwen Weihe Ellis and Beverly Hitt Charles and Alice Driscoll Willis S. White Jr. Ted and Eileen Huston Catherine Graf* Chris and Tonia Irion Cindy and Larry Hilsheimer $2,750-$4,999 Fred and Judy Isaac Mary Lazarus Anonymous Ronald Jenkins and William Davis Jane Mattlin Michael Ahern and Sandy Doyle-Ahern Daniel L. Jensen Andrew and Bette Millat Dr. Constance Bauer and James Vaughan Steve and Diane Jones Amy and Alan Shore Felicia Bernardini Mary and Tom Katzenmeyer George and Patricia Smith Jim and Susan Berry Chris Keller Zuheir and Susan Sofia Mr. and Mrs. Thomas H. Brinker Sandra Kight Kim and Judith Swanson Dorothy Burchfield Ruth and Bill Lantz Thomas R. Gross Family Foundation Dorothy Loew Cameron Mrs. Robert E. Lindemann David H. Timmons Judge John Connor Alan and Ginny Litzelfelner Scott White Ted and Lynn Coons Jeffrey and Wendy Luedke Nelson and Betsy Yoder Marilyn Harris Lowell and Nancy MacKenzie Raymond and Karen Karlsberger Gary and Cindy Madich $5,000-$9,999 Linda and Frank Kass Sondra Matter Anonymous (5) Elliott Luckoff and Fran Luckoff Lisa Morris and Kent Shimeall George Barrett Nancy and Tom Lurie Neil and Christine Mortine Don M. Casto Varun and Monica Mahajan Annegreth T. Nill and Bruce C. Posey Loann Crane Mark and Christine McHenry Sandy Osterholtz Patricia A. Cunningham and Mark, Seton and Anne Melvin Greg and Alicia Overmyer Craig R. Hassler Mervin and Barbara Muller Dr. Deborah S. Parris and Mr. and Mrs. Jerome G. Dare Ben and Rebecca Ramirez Dr. David M. Bisaro James and Ruth Decker Ernest and Aurelia Stern Fund of Carol and Jim Paul Garrett and Sidney Dill The Columbus Jewish Foundation* George and Ruth Paulson Drs. Grant Wallace and Carole Poirier Stephanie Davis Wallace Doug Preisse

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 51 INDIVIDUAL PARTNERS

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

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 52 INDIVIDUAL PARTNERS

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

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 53 IN KIND

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

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 August 31, 2018. For questions about making a gift in honor or in memory of someone, please contact the Development Office at (614) 221-5411.

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

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 54 TRIBUTE GIFTS

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

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 55 TRIBUTE GIFTS

Julie Ostrander Mary Jeannette Smith Margaret Wall Kay Hedges Francis C. Smith Katherine Boehm Mary Louise Casanta Oxley Family Loved Ones Gene Standley John and Rosina Hartig Joseph and Margaret Oxley Tom Battenberg and Helen Liebman Scott and Susanne Hirth John and Mary Fetters Marilyn Metzger Mickey Pheanis Mark and Joyce Koch Louise Swanson Judy Ross Mary K. and Ray Wall Jennifer Tiell and Mark Adelsperger Robert Sprouse Stacey and Josh Ascher Patrick J. Walsh Nancy Ross Joe and Becky Clark Daria Arbogast Pat and Nancy Ross Laura and Baily Crockarell Richard Pettit Janice T. Whittaker Larry Rutherford Stephen and Margaret Sutton Nick and Lani Davakis Dr. Robert Horvat Helen and Harry Sutherland Rachel Timmons William B. Shimp Barbara E. Goettler Bonnie Wilson Steve and Terry Sansbury Rosemary Joyce Brent Welch Ellen Rose Margaret Sibbring George H. Wilson Friends of the Columbus Symphony Wendy Vogl-Old Kathy Snapp Christina Old Edwin R. Six III Leslie Ann Yovan H. J. Six John and Diana Yovan

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 56 LEGACY SOCIETY

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

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

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

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 57 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 (3) Marilyn H. Harris Howard and Sandra Pritz American Electric Power The Jeffrey Company Denise Rehg Pat and Ross Bridgman Douglas and Darlene Jones Merry Ann L. Sauls Robert V. Byrd Patricia Karr Robert and Ann Shelly Jerome and Bette Dare Ken and Mary Keller George and Patricia Smith Garrett and Sidney Dill Susan J. Mancini Alden* and Virginia* Stilson Charles and Anne Driscoll Mattlin Foundation Sheldon and Rebecca Taft John and Francille Firebaugh Anne Melvin* David H. Timmons The Rev. Earl and Pauline Fritz Annette Molar* Craig D. and Connie Walley Judith Harris Hays 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 SEPTEMBER/OCTOBER/NOVEMBER 2018 58 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, 9 am to Latecomers and those who leave the hall once 5 pm weekdays and 10 am to 2 pm on Saturdays, to a performance has begun will be seated at the purchase tickets by credit card. Discover, MasterCard, discretion of the house manager during appropriate Visa, and American Express are accepted. Fax orders pauses. To assure that you are able to enjoy are accepted at (614) 224-7273. the entire concert, we suggest that if you are picking up tickets at Will Call or purchasing tickets, Purchase in person at the CAPA Ticket Center, plan to arrive at least 45 minutes prior to the start 39 E. State St., 9 am to 5 pm weekdays, 10 am of the concert. to 2 pm on Saturdays, and 2 hours prior to all Columbus Symphony performances. Please do not bring any packages, bags, or backpacks into the venue. Venue management Mail orders should be sent to the CAPA Ticket Center, reserves the right to search such items and to 39 E. State St., Columbus, Ohio 43215. refuse the entrance of such items into the venue. Thank you for your cooperation. Online orders can be made at www.columbussymphony.com. All ticket purchases are subject to a theatre Cameras and recording equipment may not be restoration fee. brought into the concert hall. Please turn your electronic watch, cellular phone, and pager to Group rates are available by calling (614) 719-6900. “off” or set it to “vibrate” prior to performances. Emergency Calls: Smoking is not permitted in the venue. If you need to be reached during the concert, please register your name and seat number at the ticket office so that you can be easily found.

bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 59 bravo SEPTEMBER/OCTOBER/NOVEMBER 2018 60