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bravo NOVEMBER 2015–MARCH 2016 1



Did You Know?Young people who participate in the arts for at least three hours on three days each week through at least one full year are:

• 4 times more likely to be recognized for academic achievement • 3 times more likely to be elected to class office within their schools • 4 times more likely to participate in a math and science fair • 3 times more likely to win an award for school attendance • 4 times more likely to win an award for writing an essay or poem


A Message from the Chair of the Board of Trustees 7

2015/2016 Musician Roster 11

NOVEMBER 19 13 Access Concert 1: Beethoven’s Fifth (What Makes It Great?)

NOVEMBER 20-21 19 Mozart Clarinet Concerto

JANUARY 7 25 Access Concert 2: Shostakovich No. 5 (Music and Politics)

JANUARY 8 29 Russian Winter Festival Concert 1

JANUARY 9 33 Russian Winter Festival Concert 2

FEBRUARY 19-20 37 Musical Postcards

MARCH 18-19 45 Dvorák and Haydn

Board of Directors 54

Administration 54

Corporate and Foundation Partners 57

Individual Partners 58

Tribute Gifts 62

Legacy Society 64

Concert Hall & Ticket Information 65

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 © 2015. All rights reserved. Printed in the U.S.A.

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Rossen Milanov, Music Director

CSO2



A M E S S A G E F R O M T H E C H A I R O F T H E B O A R D O F T R U S T E E S

Dear CSO Supporter,

As we continue the inaugural season of CSO Music Director Rossen Milanov, we again thank you for your support of the Columbus Symphony and of quality, live performances of classical music!

Our Masterworks Series continues with the sublime Mozart Clarinet Concerto (November 20 & 21, Ohio Theatre) featuring guest clarinetist Ricardo Morales, as well as Britten’s Simply Symphony and Beethoven’s Symphony No. 4.

The new year kicks off with the Russian Winter Festival, offering two different programs of the crème de la crème of Russia’s countless treasures. In Mussorgsky: Pictures at an Exhibition (January 8, Ohio Theatre), you’ll enjoy the elegant melodies of Tchaikovsky’s most-beloved ballet, the riveting celebrations of Rimsky-Korsakov’s Russian Easter Overture, and the vivid gallery of sketches that make up Mussorgsky’s Pictures at an Exhibition. The following evening, the CSO will perform the Rachmaninoff: Piano Concert No. 3 program (January 9, Ohio Theatre) which boasts two monumental scores—Rachmaninoff’s Piano Concerto No. 3 and Shostakovich’s Fifth Symphony—and features guest pianist Natasha Paremski.

The Masterworks Series continues with Musical Postcards (February 19 & 20, Ohio Theatre) featuring guest pianist Pascal Rogé in a musical journey traversing the Czech countryside (Smetana), the shimmering sands of Egypt (Saint-Saëns), the expansive landscape of Alaska (Respighi), and the fire of Spain (Rimsky-Korsakov). This is followed by Dvorák and Haydn (March 18 & 19, Ohio Theatre) which includes Dvorák’s magnificent Symphony No. 7, an engaging cello concerto by Haydn performed by the principal cello of the Cleveland Orchestra, Mark Kosower, and an attractive homage to Bach by Christopher Theofanidis.

We are beyond excited about what’s in store this season and, 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 this performance!

Lisa BartonChair, Columbus Symphony Board of Trustees





2 0 1 5 / 2 0 1 6 M U S I C I A N R O S T E R

VIOLINSLeonid PolonskyAssociate Concertmaster

David NiwaAssistant Concertmaster

Alicia HuiPrincipal SecondMartin and Sue Inglis Chair

Rhonda FrascottiAssistant PrincipalSecond

Mary Jean Petrucci**Mikhail BaranovskyMichael BucciconeLeah Goor BurtnettDavid EdgeRobert FirdmanWei FischettiJoyce FishmanErin GillilandKirstin GreenlawTatiana V. HannaEric KlinePaula KorakHeather KufchakWilliam ManleyEliza McGowanJanet Vander Schaaf RossGail Norine SharpAriane SletnerZoran StoyanovichAnna SvirskyElaine SwinneyDavid TannerJonquil ThomsOlev ViroManami White

VIOLASKarl PedersenPrincipalBattelle Chair

Brett AllenAssistant Principal

**Dee Dee FancherMary Ann FarringtonHeather GarnerLucy Firlie GintherKenichiro MatsudaChris SaettiChristina L. SaettiAnn SchnappSteven Wedell

VIOLONCELLOSLuis BiavaPrincipalBattelle Chair

*Wendy MortonAssistant Principal

**Marjorie ChanPei-An ChaoActng Assistant Principal

Mary Davis FetherstonVictor FirlieTom GuthMark KosmalaSabrina LackeyRuth MarshallJeffrey Singler

BASSESJohn PellegrinoActing Principal

Jena HuebnerActing AssistantPrincipal

**Russell GillWilbur EdwardsNathan FaringtonJames FaulknerJean-Etienne LedererAidan TerryGarry Wasserman

FLUTESRandall HesterPrincipalFrank & Martha West Chair

Genevieve BriggsHeidi Ruby-KushiousKatherine Borst Jones

PICCOLOHeidi Ruby-KushiousKatherine Jones

OBOESStephen SecanPrincipal

Robert RoyseLisa GroveNathan Mills

ENGLISH HORNRobert Royse

CLARINETSDavid ThomasPrincipalTaft Broadcasting Chair

*Robert JonesPaul BambachPeter Cain

BASS CLARINETWilliam Denza

BASSOONSBetsy SturdevantPrincipal

Douglas FisherTrueman Allison

CONTRABASSOONCynthia Cioffari

HORNSGene StandleyPrincipal

Julia RoseAssociate Principal

Adam KochBruce HennissAmy LassiterJoshua MichalJeremy MoonCharles Waddell

TRUMPETSThomas BattenbergPrincipal

Jeffrey KorakBrian BuerkleDavid DuroTimothy Leasure

TROMBONESAndrew MillatPrincipal

Richard Howenstine

BASS TROMBONEJoseph Duchi

TUBAJames AkinsPrincipal

Cameron Chandler

TIMPANIBenjamin RamirezPrincipal

Brian Kushmaul

PERCUSSIONPhilip ShipleyPrincipal

Jack JennyDean ApplemanMichael LaMattinaWilliam LutzRajesh PrasadChristian Slagle

HARPJude MollenhauerPrincipalSymphony League Chair

Jeanne NortonNi Yan

KEYBOARDCaroline HongReinberger Foundation Chair

SAXOPHONEBrian Thomas

* Indicates musician on leave during the 2015 -2016 Season

** Begins thealphabetical listingof players whoparticipate in asystem of rotatedseating within thestring section.

KEYBOARD TECHNICIANDoug Brandt

LIBRARIANSDavid FrostPrincipal LibrarianJean-Etienne Lederer



THURSDAY, NOVEMBER 19, 2015, 6:30 P.M.

ACCESS CONCERT 1:BEETHOVEN’S FIFTH

(What makes it great?)THE SOUTHERN THEATRE

Rossen Milanov, conductor

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

LUDWIG VAN BEETHOVEN Excerpts and discussions of Symphony No. 5 in C Minor, Op. 67

I N T E R M I S S I O N

LUDWIG VAN BEETHOVEN Symphony No. 5 in C Minor, Op. 67 I. Allegro con Brio II. Andante con moto III. Allegro IV. Allegro


additional support:

Program and artists subject to change. Cameras and recording devices of any kind are not permitted. Please turn off watch alarms, cell phones and pagers. Latecomers and patrons who leave

the hall during the performance will be seated at an appropriate pause in the program.

presented by:


Respected and admired by audiences and musicians alike, Rossen Milanov is the new Music Director of the Columbus Symphony Orchestra and recently completed his first season with the Chautauqua Symphony Orchestra to enthusiastic acclaim. He is also the Music Director of the Princeton Symphony and of the Orquesta Sinfónica del Principado de Asturias (OSPA) in Spain. In 2015 he completed a 15-year tenure as Music Director of the nationally recognized training orchestra Symphony in C in New Jersey.

During the 2015/16 season he is dedicating the concert season of the Princeton Symphony to Women’s creativity and will showcase the compositions of some of the most respected emerging female composers, such as Anna Clyne, Caroline Shaw, and Sarah Kirkland Snyder. In Columbus, Ohio he begins his tenure with transformative and creative ideas for new programming and expanding the orchestra’s reach to new audiences. With OSPA he celebrates the

25th Anniversary of the orchestra with 25 new works and premiere performances in Spain. He will be conducting a new production of Tchaikovsky’s Swan Lake at Zurich Opera.

His recent season highlights include appearances with the Colorado, Detroit, Milwaukee,Vancouver, Fort Worth, Aalborg, and Latvian National Symphony Orchestras; National Symphony Orchestra at the Kennedy Center, Toronto Symphony Orchestra, Zurich Opera, Hyogo Performing Arts Center Orchestra and his Link Up education projects with Carnegie Hall and the Orchestra of St. Luke’s. He also appeared with Opera Oviedo in Spain, Hungarian National Orchestra, Orchestre Philharmonique de Strasbourg, New York City Ballet, Pacific Symphony, and the Curtis Symphony Orchestra in Verizon Hall in Philadelphia.

Mr. Milanov has collaborated with some of the world’s preeminent artists, including Yo-Yo Ma, Itzhak Perlman, Joshua Bell, Midori, Christian Tetzlaff, and André Watts. During his eleven-year tenure with The Philadelphia Orchestra, Milanov conducted more than 200 performances, as Associate Conductor and as Artistic Director of the Orchestra’s summer home at The Mann Center for the Performing Arts. His passion for new music has resulted in numerous world premieres of works by composers such as Richard Danielpour, Nicolas Maw, and Gabriel Prokofiev.

Rossen Milanov studied conducting at the Curtis Institute of Music and the Juilliard School, where he received the Bruno Walter Memorial Scholarship. A passionate chef, he often dedicates his culinary talents to various charities.

R O S S E N M I L A N O V, c o n d u c t o r


Symphony No. 5 in C minor, Op. 67 (1808)by Ludwig van Beethoven (Bonn, 1770 – Vienna, 1827)

“The reviewer has before him one of the most important works by the master whose pre-eminence as an instrumental composer it is doubtful that anybody would now dispute…” These words were written by E.T.A. Hoffmann (1776-1822), writer and composer, in 1810, a year and a half after the first performance of Beethoven’s Fifth Symphony, based solely on a study of the score. Although writings about this work would now fill a small library, few authors in the past two hundred years have equalled Hoffmann in incisiveness and the ability to combine a poet’s sensitivity and imagination with the thoroughness of a musical scholar.

Hoffmann immediately understood the significance of the symphony’s opening motif, the famous ta-ta-ta-TA: “Nothing could be simpler than the main idea of the opening Allegro, consisting of only two bars and initially in unison, so that the listener is not even certain of the key. The mood of the anxious, restless yearning created by this subject is heightened even further by the melodious secondary theme.” The fermata, the long-held note at the end of the first extended phrase, gives, according to Hoffmann, “presentiments of unknown mysteries.”

Everything in the first movement—indeed, a great many things in the whole symphony—are, one way or another, derived from that opening ta-ta-ta-TA. The rhythm is almost always present in the bass or in the treble, in its original form or with modifications. Whether or not this theme represents “Fate knocking on the door,” as Beethoven is supposed to have said, the dramatic tension of the music and the heroic struggle it portrays cannot be missed. Beethoven might well have called this symphony an “Eroica,” had he not used that name earlier for his Third Symphony.

One of the most striking differences between the first movements of the Third and the Fifth is their size. The Third Symphony opened with what was surely the longest symphonic movement to date

(over 15 minutes in performance), in which dramatic tension resulted from sharp thematic contrasts and complex procedures of motivic development. The first movement of the Fifth Symphony takes only about 8 minutes; dramatic tension here results from the relentless insistence on one main motif and the extraordinary tightness of the structure. Only once, and then very briefly, is there a respite from this tension: the recapitulation of the main theme is interrupted by an oboe cadenza, whose sorrowful descending melody is clearly a lament. But this solo is extremely short, and soon we are back in the throes of the drama, without a break to the end.

The second-movement Andante con moto is, in Hoffmann’s words, “a propitious spirit that fills our breast with comfort and hope.” Hoffmann noticed the indebtedness of this movement to certain slow movements in Haydn’s symphonies (for instance, No. 103) in which two themes alternate in a kind of “double variation” form; often, in such movements, there is a contrast in orchestration, with some sections written for strings only and some including trumpets and kettledrums. But Hoffmann also saw the uniqueness of Beethoven’s approach, where the two themes are extremely polarized: “comfort and hope” alternate with loud military fanfares in a relatively distant key, and the transitions back and forth between those keys receive great dramatic emphasis. The more subdued first material is subjected to extensive variations, among which the one in minor (played staccato, or in short, separated notes, by the woodwinds) lends the theme an interesting new physiognomy. Before the end of the movement, there is a short Più mosso (“faster”) section, where the solo bassoon makes the theme chromatic (introduces half-steps into it); after this fleeting episode, the movement ends on a confident and reassuring note.

The idyll is over. In the third-movement Allegro, Beethoven dispensed with the title “Scherzo,” although it is obviously one of the fast movements in 3/4 time with a contrasting middle section that Beethoven elsewhere called scherzi (jokes). But this time, there is nothing funny in the music. We feel a chilly wind blowing as the cellos and double basses begin the pianissimo theme of the movement. Soon we hear a

P R O G R A M N O T E S


variant of the first movement’s ta-ta-ta-TA motif on the horns; it sounds even more austere now that all four notes have the same pitch (that is, the last note does not drop a third as it did in the first movement). The Trio, which starts out as a fugue with an agile theme played by the cellos and double basses, provides some relief for a brief moment, but then a most extraordinary thing happens. The theme of the first section returns, but the strings play pizzicato (“with the strings plucked”) and the legato (“continuous”) melody is broken up into mysterious-sounding staccato notes. If the first version of the theme made a chilly impression, this time it is definitely freezing, and the recapitulation is followed by a section characterized by the deepest despair music has ever expressed. We hear a pianissimo kettledrum solo over the long-held notes of the strings; against this thumping background, a violin theme (related to the first theme of the movement) gradually emerges and rises higher and higher against the insistent ostinato in basses and timpani. In one of the most fantastic “darkness-to-light” transitions in the orchestral literature, we reach, after an extraordinary 50 measures of suspense and a stunning crescendo, the glorious Allegro in C major which proclaims the victory at the end of a long battle.

Piccolo, contrabassoon, and three trombones join the orchestra for this exuberant celebration, in a movement in which the various themes follow one another with a naturalness and inevitability that is one of the greatest miracles of Beethoven’s music. The movement follows the traditional sonata pattern of exposition, development, and recapitulation, but between the last two, another surprise awaits us. (It is another miracle that after a thousand hearings, it still strikes us as a surprise.) The last section of the third movement returns, and the transition from darkness to light is enacted all over again. However, nothing is repeated literally; the orchestration is new, made less gloomy by the more melodic woodwind parts.

The transition itself is different from what it was the first time around: the “chilly” string melody is totally absent, and we reach the triumphant Allegro much faster and more easily than before. Donald Francis Tovey, whose writings on music are perennial classics, found some particularly eloquent words about the effect of this passage:

Beethoven recalls the third movement as a memory which we know for a fact but can no longer understand: there is now a note of self-pity, for which we had no leisure when the terror was upon our souls: the depth and the darkness are alike absent, and in the dry light of the day we cannot remember our fears of the unknown. And so the triumph resumes its progress and enlarges its range until it reaches its appointed end.

That appointed end, the “Presto” Coda with its 54 measures of C-major chords, has raised, we must say, a few eyebrows. Even E.T.A. Hoffmann felt this was too much of a good thing: the final C-major strokes, separated by rests, reminded him of “a fire that is thought to have been put out but repeatedly bursts forth again in bright tongues of flame.” Yet it seems that a shorter coda would not have been enough to balance out the enormous tensions of the symphony. Like an airplane that, after landing, runs on the ground for a long time before coming to a complete stop, Beethoven’s Fifth needs time to wind down: after the thematic material has disappeared, the music still continues with a bare restatement of the C-major tonality. Finally, even the C-major chord goes away, replaced by a single unison C that marks the final arrival.

Duration of complete work: 36:00Last CSO perf of work: 11/16/2013 with Thomas Wilkins, Conductor

–Notes by Peter Laki



Artist and cultural organization grants and resources.

GCAC.org

SUPPORTING ART. ADVANCING CULTURE.

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As Music Director for the Columbus Symphony Orchestra, Rossen Milanov collaborates with artists to create something powerful yet never the same. In Columbus he nds a youthful, bubbling energy and a city with a complete spectrum of artistic experiences.

Learn more about Rossen’s story and other Columbus artists and events at ColumbusMakesArt.com and #artmakescbus.

MUSIC IS MY ART.

ColumbusMakesArt.com#artmakescbus



FRIDAY, NOVEMBER 20, 2015, 8:00 P.M.SATURDAY, NOVEMBER 21, 2015, 8:00 P.M.

MOZART CLARINET CONCERTOTHE SOUTHERN THEATRE

Rossen Milanov, conductorRicardo Morales, clarinet

series sponsor:Anne H. Melvin

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

BENJAMIN BRITTEN Simple Symphony for String Orchestra, Op. 4 I. Boisterous Bourée II. Playful Pizzicato III. Sentimental Saraband IV. Frolicsome Finale

WOLFGANG AMADEUS MOZART Concerto in A Major for Clarinet and Orchestra, K. 622 I. Allegro II. Adagio III. Rondo: Allegro Ricardo Morales, clarinet


LUDWIG VAN BEETHOVEN Symphony No. 4 in B-flat Major, Op. 60 I. Adagio – Allegro vivace II. Adagio III. Allegro vivace IV. Allegro ma non troppo


additional support:

Program and artists subject to change. Cameras and recording devices of any kind are not permitted.Please turn off watch alarms, cell phones and pagers. Latecomers and patrons who leave



Ricardo Morales is the principal clarinetist of The Philadelphia Orchestra. Prior to this, he was principal clarinet of the Metropolitan Opera Orchestra, a position he assumed at the age of 21 under the direction of James Levine. He began his professional career as principal clarinet of the Florida Symphony at age 18. In addition, he has performed as guest principal clarinet with the Chicago Symphony Orchestra, The New York Philharmonic and at the invitation of Sir Simon Rattle, performed as guest principal clarinet with the Berlin Philharmonic. He has also participated as principal clarinet of the Saito Kinen Festival Orchestra in Matsumoto, Japan, under maestro Seiji Ozawa.

A native of San Juan, Puerto Rico, Mr. Morales began his studies at the Escuela Libre de Musica along with his five siblings, who are all distinguished musicians. He continued his studies at the Cincinnati Conservatory of Music and Indiana University, where he received his Artist Diploma.

He has been a featured soloist with many orchestras including the Metropolitan Opera Orchestra, the Chicago Symphony, the Cincinnati Symphony, the Indianapolis Symphony, the Seoul Philharmonic, Les Violons du Roi, the Flemish Radio Symphony, the North Carolina Symphony, the Puerto Rico Symphony, the Florida Symphony and the Columbus Symphony. During his tenure with the Metropolitan Opera Orchestra, Mr. Morales soloed under the baton of James Levine in Carnegie Hall and on two European tours. He made his solo debut with The Philadelphia Orchestra in 2004 with Charles Dutoit and has since performed as soloist on numerous occasions.

An active chamber musician, Mr. Morales has performed in the MET Chamber Ensemble series at Carnegie’s Weill Recital Hall with James Levine at the piano, at the Santa Fe Chamber Music Festival, the Philadelphia Chamber

Music Society, the Saratoga Chamber Music Festival, on NBC’s The Today Show, and with the Chamber Music Society of Lincoln Center. He has performed with many distinguished ensembles such as The Juilliard Quartet, the Pacifica Quartet, the Miró Quartet, the Leipzig Quartet and The Kalichstein-Laredo-Robinson Trio. He has also collaborated with Christoph Eschenbach, André Watts, Emmanuel Ax, Jean-Yves Thibaudet, Gil Shaham and Kathleen Battle. Mr. Morales is highly sought after for his recitals and master classes, which have taken him throughout North America and Europe. In addition, he currently serves on the faculties of the Juilliard School, Temple University and the Curtis Institute of Music.

He has been a featured soloist with many orchestras including the Metropolitan Opera Orchestra, the Chicago Symphony, the Cincinnati Symphony, the Indianapolis Symphony, the Seoul Philharmonic, Les Violons du Roi, the Flemish Radio Symphony, the North Carolina Symphony, the Puerto Rico Symphony, the Florida Symphony and the Columbus Symphony. During his tenure with the Metropolitan Opera Orchestra, Mr. Morales soloed under the baton of James Levine in Carnegie Hall and on two European tours. He made his solo debut with The Philadelphia Orchestra in 2004 with Charles Dutoit and has since performed as soloist on numerous occasions.

His performances have been met with critical acclaim. The Philadelphia Inquirer hailed his appointment to the Philadelphia Orchestra, stating “…in fact, may represent the most salutary personnel event of the orchestra’s last decade.” He was also praised by the New York Times as having “...fleet technique, utterly natural musical grace, and the lyricism and breath control of a fine opera singer.” Mr. Morales was also singled out in the New York Times review of the Metropolitan Opera’s production of Berlioz’s Les Troyens, describing his playing as “exquisite” and declared that he “deserved a place onstage during curtain calls.”

His debut solo recording, French Portraits, is available on the Boston Records label. Morales’ recent recordings include performances with The Kalichstein-Laredo-Robinson Trio and also with the Pacifica Quartet, which was nominated for a Latin Grammy Award. Mr. Morales has joined forces with internationally recognized master acoustician and instrument maker Morrie Backun, of Backun Musical Services, to create MoBa, a line of artist clarinets and clarinet accessories including: mouthpieces, bells, and barrels. Mr. Morales has also been teaching clarinet online since 2012 as part of the ArtistWorks Classical Campus.

R I C A R D O M O R A L E S , c l a r i n e t


Simple Symphony, Op. 4 (1934)by Benjamin Britten (Lowestoft, England, 1913 – Aldeburgh, England, 1976)

Benjamin Britten was a child prodigy whose precocity as a composer could only be compared to Mozart’s or Mendelssohn’s. He wrote his first piece at the age of five; by the time he entered the Royal College of Music at sixteen, he was the proud author of an astonishing 737 works in a wide variety of genres. His official Op. 1, the Sinfonietta for small orchestra, inaugurated his professional career at the age of 18.

Britten’s exceptional talents were quickly noticed. His choral work A Boy was Born was broadcast on BBC in February 1934, and his Phantasy, op. 2, was performed at an international festival in Florence. Yet these early efforts were soon overshadowed by the delightful Simple Symphony, which established Britten as one of the most promising young composers of the day. What is so captivating about this work is its effortless virtuosity and its ability to be simple without being primitive— a feat only the greatest composers can achieve.

The themes of the Simple Symphony are derived from Britten’s childhood compositions—songs and piano pieces written between the ages of nine and twelve. Yet, in their arrangement in symphonic forms (albeit on a small scale) and in their skillful scoring for string orchestra, the four movements sound like the work of the consummate artist that the 20-year-old Britten already was.

The alliteration in the title Simple Symphony continues in the movement titles “Boisterous Bourrée,” “Playful Pizzicato,” “Sentimental Saraband,” and “Frolicsome Finale.” The names lead us to expect a light-hearted work, and we shall not be disappointed, even though the third-movement Saraband plumbs surprising emotional depths. Simplicity, hard enough to achieve, is also not easy to talk about. Britten’s one-word characterizations of each movement can hardly be improved or expanded upon; nor do lengthy explanations seem necessary to enjoy this sunny and thoroughly engaging little masterpiece.

Duration of complete work: 16:00Last CSO perf of work: 5/29/2003 with Peter Stafford Wilson, conductor

Clarinet Concerto in A major, K. 622 (1791)by Wolfgang Amadeus Mozart (Salzburg, 1756 – Vienna, 1791)

The clarinet was the last instrument of the woodwind family to emerge as a modern orchestral instrument. In Mozart’s day in the late 18th century, it was still not universally used. It is found in only a handful of Haydn’s symphonies, and even Mozart, who loved its sound so much, included it in only a few of his scores.

In those days, the clarinet was undergoing constant changes from the early 18th-century instrument, which had only two keys, to the one with five keys that became standard around 1760. The orchestra of Mannheim, which Mozart visited in 1778, was one of the first to incorporate clarinets on a regular basis. In one word, the clarinet was still something of a novelty, and Mozart exclaimed in one of his letters to his father after his trip to Mannheim: “Alas, if only we also had clarinets [in Salzburg].”

A decade later in Vienna, Mozart did have clarinets at his disposal. He had become friends with the virtuoso Anton Stadler, whose brother, Johann, was also a clarinet player. Anton Stadler had participated in performances of Mozart’s works since at least 1784, and later inspired two of the composer’s most magnificent late masterpieces, the Quintet in A major for clarinet and string quartet (K. 581) and the present concerto.

The compass of the clarinet is divided into registers that greatly differ in character and timbre. The low register, the so-called “chalumeau,” is one of the clarinet’s most wonderful features, and Stadler, together with Theodor Lotz, Royal Instrument Maker to the Viennese court, experimented with its extension. They created a new clarinet that could go a major third below the regular instrument. Stadler called this a “bass clarinet,” but we today call it a “basset” (i.e. “little bass”), to avoid confusion with the modern bass clarinet, which sounds an octave lower.



It has long been known that both the quintet and the concerto were originally written for this extended clarinet, even though they didn’t come down to us in that form. In a review of the concerto’s first edition, published in 1802, the anonymous reviewer discussed how the editors had changed the solo part to make it accessible to players of the regular clarinet; extended instruments were extremely hard to come by.

Since we know that Mozart died two months after finishing this concerto, we are inclined to call it a “late” work. A close look at the compositions of the year 1791 reveals, however, that it is less a final arrival than a new start, one cut short by what musicologist H.C. Robbins Landon has called “the greatest tragedy in the history of music.” The Clarinet Concerto, written shortly after The Magic Flute, shares with the opera a combination of simplicity and sophistication that was, in this form at least, new in Mozart’s music. The melodies are as graceful and fresh as ever; yet there are far more grave and serious moments than before. Such moments are characterized by unexpected digressions into minor keys, imitative counterpoint, and (this is where the low notes of the clarinet become especially important) a darker tone quality. It is a style that had an enormous expressive potential. Despite the total uselessness of such pursuits, one cannot help but wonder about the further style changes Mozart’s music might have undergone had he not contracted his fatal illness in November 1791. What would have happened had Mozart lived to see Beethoven’s arrival in Vienna in 1792; how would their interaction (competition?) have affected the style of each man, Viennese musical life, and music history in general?

Duration of complete work: 28:00Last CSO perf of work: 6/2/2007 with Junichi Hirokami, conductor; Richard Stoltzman, clarinet

Symphony No. 4 in B-flat major, Op. 60 (1806)by Ludwig van Beethoven (Bonn, 1770 - Vienna, 1827)

Beethoven’s career as a composer spans some 40 years, from his youthful essays to the last string quartets. His output, however, is not evenly distributed over those decades. There were years when he composed little or nothing at all; at other times he wrote incredible amounts of great music over a remarkably short period of time. During such periods, it is hard to reconcile Beethoven’s extreme speed with the usual image of the composer toiling endlessly over his sketches.

1806 was one of the most prolific years in Beethoven’s life. He completed his three Razumovsky quartets, the Fourth Piano Concerto, the Fourth Symphony, and the Violin Concerto all in one year. He also started work on what would later become the Fifth Symphony (actually, the C-minor work had been begun first, and then laid aside in favor of the symphony in B flat).

The 36-year-old Beethoven was in the middle of his so-called “heroic” period, shortly after the “Eroica” and just before the no-less-heroic Fifth. The Fourth has traditionally been seen as a kind of respite between these two mighty works, in accordance with the old theory that opposed the dramatic “odd-numbered” symphonies to the more lyrical “even- numbered” ones.

In fact, the Fourth Symphony is animated by the same incessant flow of energy and the same irresistible pull to move ahead as its more tempestuous companions. It is just as perfect a representative of the “heroic period” as any other work. The emotions expressed may be lighter and less tragic, but they are expressed with the same force throughout.

The slow introduction to the first movement is certainly one of the most suspenseful Beethoven ever wrote. The idea of starting a B-flat-major symphony with



a slow-moving unison theme in B-flat minor may have come from Haydn’s Symphony No. 98—but the polarity is much greater in Beethoven, whose introduction is full of a sense of mystery that was entirely new in music. One finds it hard to believe that Haydn had written his London symphonies only a decade earlier and was still alive in 1806!

Slow introductions are usually linked to the subsequent Allegros by means of some transition that builds a bridge between the two tempos. In Beethoven’s Fourth, there is a clear separation instead of a bridge. A drastic shift of keys and a sudden general rest bring the music to a virtual standstill before the energetic Allegro vivace is launched. Now there will hardly be a moment of pause until the end of the movement. The concise exposition begins with a brisk and vibrant theme, and even the more lyrical moments are full of motion and excitement.

The development section employs one of Beethoven’s favorite musical techniques, namely thematic fragmentation. The first theme is “decomposed” almost to its atoms; for a while, it receives a new lyrical counter-melody that is, however, soon brushed aside by a tutti outburst. The recapitulation is prepared by a long tremolo on the kettledrum, over which the strings gradually put the thematic “atoms” back together for the triumphant return of the theme.

The second movement is the only large-scale lyrical Adagio in a Beethoven symphony before the Ninth. (The other symphonies’ slow movements are all faster, with the exception of the Funeral March of the Third.) In the Fourth Symphony, Beethoven unfolds a beautiful cantabile (“singing”) theme over a characteristic rhythmic accompaniment that eventually rises to the status of a theme in its own right. The cantabile theme returns several times, in a more and more ornamented form, its appearances separated by some rather powerful statements. The movement ends with a timpani solo followed by two concluding orchestral chords.

The third movement is a scherzo, although Beethoven didn’t use that word as a title. The music abounds in playful elements such as subtle interplays of duple and triple meter, sudden modulations (or rather jumps) into distant tonalities, and a general mood of exuberant joy. The Trio moves in a slower tempo and has a simpler melody; it is based on the juxtaposition of the orchestra’s wind and string sections. Beethoven added an interesting twist to the usual scherzo form here: he expanded on the standard form (Scherzo – Trio – Scherzo) by means of a second appearance of the Trio and a third Scherzo statement (he was do the same in the Seventh Symphony).

The fourth-movement finale, marked “Allegro ma non troppo,” begins with a theme in perpetual sixteenth-note motion; the flow of the sixteenth is only briefly interrupted by melodic episodes. Light in tone and cheerful in spirit, the finale shows once again how much Beethoven had learned from Haydn (less during his brief apprenticeship with the older composer than from studying Haydn’s symphonies). It also shows how he used what he had learned in an entirely novel way. The repeated und unresolved dissonances at the end of the exposition (duly brought back in the recapitulation) sound rather close to a similar passage in the first movement of the “Eroica.” Also, Haydn never would have entrusted the return of the perpetual-motion theme to the solo bassoon, in what is one of the most difficult passages for the instrument in the classical repertoire. One might say that Haydn’s cheerfulness has been stepped up to a state of near-euphoria—until the music is suddenly cut short by a hesitant, slower rendition of the main theme in the violins, continued by the bassoons, and abruptly ended by a few energetic chords played by the whole orchestra.

Duration of complete work: 32:00Last CSO perf of work: 11/7/2013 with Gregory Vajda, conductor





THURSDAY, JANUARY 7, 2016, 6:30 P.M.

ACCESS CONCERT 2:SHOSTAKOVICH NO. 5(Music and Politics)

THE OHIO THEATRE

Rossen Milanov, conductor

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DMITRI SHOSTAKOVICH Excerpts and Discussion of Symphony No. 5 in D Minor, Op. 47


DMITRI SHOSTAKOVICH Symphony No. 5 in D Minor, Op. 47 I. Moderato II. Allegretto III. Largo IV. Allegro non troppo


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Symphony No. 5 in D minor, Op. 47 (1937)by Dmitri Shostakovich (St. Petersburg, 1906 – Moscow, 1975)

Shostakovich wrote the Fifth Symphony in what was certainly the most difficult year of his life. On January 28, 1936, an unsigned editorial in the Pravda, the daily paper of the Communist Party, brutally attacked his opera Lady Macbeth of the Mtsensk District, denouncing it as “muddle instead of music.” This condemnation resulted in a sharp decrease of performances of Shostakovich’s music for about a year. What was worse, Shostakovich, whose first child was born in May 1936, had to live in constant fear of being deported to one of the infamous, deathly labor camps in Siberia. These were the days of the “Great Terror” that claimed the lives of some of the country’s greatest artists such as the poet Osip Mandelshtam, the novelist Isaac Babel, and the theater director Vsevolod Meyerhold. It is said that Shostakovich kept a suitcase with a change of clothes under his bed, in case they would come for him in the middle of the night.

Yet the composer was miraculously spared: the Party decided that the country’s music life couldn’t afford to lose its greatest young talent. Shostakovich was granted a comeback. Less than a year after being forced to withdraw his Fourth Symphony, he heard his Fifth premiered with resounding success in Leningrad on November 21, 1937.

Could it be that the qualities in the Fifth Symphony that are so admired today were the same ones that saved the composer’s life then? Shostakovich clearly made a major effort to write a “classical” piece here, one that would be acceptable to the authorities and was as far removed from the avant-gardistic Fourth as possible. Whether that makes it “A Soviet Artist’s Creative Response to Just Criticism,” as it was officially designated at the time, is another question. The work is so profound and sincere as to transcend any kind of political expediency. The symphony was definitely a response to something, but not in the sense of a chastised schoolboy mending his ways—rather as a great artist reacting to the cruelty and insanity of the times.

The energetic dotted motif at the beginning of the Fifth Symphony is, no doubt, dramatic and ominous. A second theme, played by the violins in a high register, is warm and lyrical but at the same time eerie and distant. The music seems hesitant until the horns begin a march theme that leads to motivic development and a speeding up of the tempo. It is not a funeral march, but it is not exactly triumphant either. Reminiscent of some of Mahler’s march melodies but even grimmer, its harmonies modulate freely from key to key, giving the march an oddly sarcastic character. At the climactic point of the march, the two earlier themes return. The dotted rhythms from the opening are even more powerful than before, but the second lyrical theme, now played by the flute and the horn to the soothing harmonies of the harp, has lost the edge it previously had and brings the movement to a peaceful, almost otherworldly close.

The brief second-movement Scherzo brings some relief after the preceding drama. Its Ländler-like melodies again bespeak Mahler’s influence, both in the Scherzo proper and the Trio, whose theme is played by a solo violin and then by the flute.

The third movement is an expansive Largo in which the brass is silent and the violins are divided not into two sections as usual but three. After an espressivo melody, scored for strings only, two flutes and harp transform the first movement’s march rhythm into a lament. The oboe, the clarinet, and the flute intone desolate solo melodies, interspersed with a near-quote from a Russian Orthodox funeral chant, played by the strings. The tension grows and finally erupts, about two-thirds through the movement; the opening melody then returns in a passionate rendering by the cello section in a high register. At the end, the music falls back into the lament mode of the earlier woodwind passages.

Generally accepted as the emotional high point of the symphony, the Largo was widely understood as a lament for the Soviet Army marshal Mikhail Tukhachevsky, who fell victim to the Stalinist purges in 1937. Tukhachevsky had been a benefactor and a personal friend of the composer’s. At the first




performance, many people wept openly during the Largo, perhaps thinking of their own loved ones who had disappeared.

The last movement finally resolves the tensions that have built up in the first three movements (or so it seems at first) by introducing a march tune that is much simpler and more straightforward than most of the symphony’s earlier themes. Yet after an exciting development, the music suddenly stops on a set of harsh fortissimo chords, and a slower, more introspective section begins with a haunting horn solo. Musicologist Richard Taruskin has shown that this section quotes from a song for voice and piano on a Pushkin poem (“Vozrozhdenie” or “Rebirth,” Op. 46, No.1) Shostakovich had written just before the Fifth Symphony. (“Delusions vanish

from my wearied soul, and visions arise within it of pure primeval days”—says Pushkin’s poem.) This quiet intermezzo ends abruptly with the entrance of the timpani and snare drum, ushering in the recapitulation of the march tune, played at half its original tempo. Merely a shadow of its former self, the melody is elaborated contrapuntally until it suddenly alights on a bright D-major chord in full orchestral splendor, which then remains unchanged for more than a minute, until the end of the symphony.

Duration of complete work: 46:00Last CSO perf of work: 11/12/2011 with Jean-Marie Zeitouni, conductor

– Notes by Peter Laki



FRIDAY, JANUARY 8, 2016, 8:00 P.M.

RUSSIAN WINTER FESTIVALConcert 1

THE OHIO THEATRERossen Milanov, conductor


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NIKOLAI RIMSKY-KORSAKOV Russian Easter Overture, Op. 36

PIOTR ILYICH TCHAIKOVSKY Suite from Swan Lake, Op. 20a I. Scène II. Valse III. Dance of the Swans IV. Scène V. Hungarian Dance, Czardas VI. Spanish Dance VII. Neapolitan Dance VIII. Marzurka

I N T E R M I S S I O NIGOR STRAVINSKY Circus Polka

MODEST MUSSORGSKY/ Pictures at an ExhibitionMAURICE RAVEL Introduction: Promenade I. Gnomus II. Il vecchio castello III. Tulleries IV. Bydlo V. Ballet of Little Chicks in their Shells VI. Two Polish Jews VII. Limoges VIII. Catacombae – Cum mortius in lingua mortua IX. Baba-Yaga – The Hut on Hen’s Legs X. The Great Gate of Kiev


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We are honored and proud to dedicate this concert in the memory of Georgianna and Thomas Cochran and Barbara Easter.


Russian Easter Overture, Op. 36 (1888)by Nikolai Rimsky-Korsakov (Tikhvin, Russia, 1844 – St. Petersburg, 1908)

Anyone growing up in the Russian countryside in the 19th century would have the sound of the Easter bells in their ears. The holiday is celebrated with a particularly elaborate midnight service, special cakes, painted eggs and—of course—special chants. Having travelled the world, musically speaking, in his Capriccio espagnol and his Scheherazade, Nikolai Rimsky-Korsakov, who had grown up near a monastery, decided to return home, and to dress up the simple yet extremely powerful melodies of the Russian Orthodox Church in the lavish colors of the symphony orchestra which he understood better than anyone in the world at the time. (Rimsky-Korsakov wrote what was probably the single most influential treatise on the topic, Principles of Orchestration.)

The original full title of the overture was Bright Holiday: Easter Overture on Themes from the Obikhod—the Obikhod being a compendium of Orthodox chants used in the liturgy. In his autobiography, Rimsky-Korsakov listed the hymns he had used in the overture; he also prefaced the score with Biblical quotations to put the performers in a religious state of mind. Yet he also stressed that he wanted to combine the Christian aspect of Easter with its traces of “pagan merry-making.” He continued:

Surely the Russian Orthodox chime is instrumental dance-music of the church, is it not? And do not the waving beards of the priests and sextons clad in white vestments and surplices, and intoning “Beautiful Easter” in the tempo of Allegro vivo, etc., transport the imagination to pagan times?

A little further in the same paragraph, the composer added:

In order to appreciate my Overture even ever so slightly, it is necessary that the hearer should have attended Easter morning service at least once and, at that, not in a domestic chapel, but

in a cathedral thronged with people from every walk of life, with several priests conducting the cathedral service—something that many intellectual Russian hearers, let alone hearers of other confessions, quite lack nowadays.

If the Russian intellectuals didn’t experience Easter in church, then, they could encounter its spirit in the concert hall. After the first performance held in December 1888 (with the composer himself conducting the orchestra), The Russian Easter Overture quickly became a popular concert staple, which, 127 years later, it still remains.

Duration of complete work: 15:00Last CSO perf of work: 3/17/1991 with Leslie Dunner, Conductor

Suite from Swan Lake, Op. 20a (1875-76)by Piotr Tchaikovsky (Kamsko-Votkinsk, Russia, 1840 – St. Petersburg, 1893)

Swan Lake, the first of Tchaikovsky’s three ballets (the others being Sleeping Beauty and The Nutcracker), is about a young prince named Siegfried who falls in love with Odette, an enchanted princess. Odette, having been turned into a swan by an evil spell, is allowed to assume her human form only at night. She will become human permanently if she finds true love. At the same time, Siegfried’s mother intends to marry him off to a girl he must choose at a great festivity planned at her palace. The sorcerer who cast a spell on Odette arrives with his daughter Odile who looks exactly like Odette. The intrigue almost works: Siegfried annouces his betrothal to Odile, but then he catches a glimpse of Odette as a swan in the sky and rushes to his beloved’s side, realizing he has been deceived. But he has lost his chance to break Odette’s spell, and the two lovers can be united only in death.

Duration of complete work: 31:00Last CSO perf of work: 11/8/2003 with Vladimir Spivakov, conductor




Circus Polka (1942, orchestrated 1944)by Igor Stravinsky (Oranienbaum, nr. St. Petersburg, 1882 – New York, 1971)

Stravinsky’s Circus Polka has a rather amusing composition history. In 1942, the Ringling Brothers and Barnum&Bailey Circus commissioned the famous choreographer George Balanchine to create a ballet for elephants, who were supposed to dance with human ballerinas. Balanchine turned to his old friend Stravinsky to write some music for the project. Their phone conversation, as Balanchine recollected many years later, ran something like this:

Balanchine: I wonder if you’d like to do a little ballet with me.Stravinsky: What kind of music?B: A polka.S: For whom?B: For some elephants.S: How old?B: Young.S: If they are very young, I’ll do it.

The completed polka (in an arrangement by David Raksin) was used more than 400 times at the circus, but it was reportedly less than a success with the dancing pachyderms. In an article printed in the program book of the Boston Symphony Orchestra in January 1944 (when the orchestral version was premiered), we read the following:

In spite of some of the stunts which they are made to perform, elephants are dignified animals. They respond instantly to waltz tunes, and soft, dreamy music, even to some military numbers of a particularly circusy tempo. The involved music of Stravinsky’s “Elephant Ballet” was both confusing and frightening to them. It robbed them of their feeling of security and confidence in the world about them—so alien to their native condition of life. It would have taken very little at any time during the many performances of the ballet to cause a stampede.

Fortunately, there were nevery any stampedes. One has to admit, though, that Stravinsky’s music

is rather involved. For a polka, it has quite a few changing meters and other irregularities that might make an elephant nervous. Yet it can be a lot of fun for human ears, especially if they recognize the quote from Schubert’s Marche militaire and appreciate the many delicious jokes Stravinsky plays with that familiar melody.

Duration of complete work: 4:00Last CSO perf of work: 7/9/2004 with Albert-George Schram, conductor

Pictures at an Exhibition (1874)by Modest Mussorgsky (Karevo, Russia, 1839 – St. Petersburg, 1881)orchestrated in 1922 by Maurice Ravel (Ciboure, France, 1875 – Paris, 1937)

“What a terrible blow!” Mussorgsky exclaimed in a letter to the critic Vladimir Stasov in 1874, paraphrasing a famous passage from Shakespeare’s King Lear. “Why should a dog, a horse, a rat, live on, when creatures like Hartman must die?” Victor Hartman, a gifted architect and painter and a close friend of Mussorgsky’s, had recently passed away at the age of 39. A commemorative exhibit of his paintings inspired Mussorgsky to pay ribute to his friend by writing a piano suite based on his impressions of the paintings. The suite was not performed or published during the composer’s lifetime, however; it did not become universally known until Maurice Ravel orchestrated it in 1922.

The work opens with a Promenade in which the visitor arrives at the exhibition and looks around for the first time. The first picture, “Gnomus,” represents a toy nutcracker in the shape of a dwarf. The strange and unpredictable movements of this creature are depicted quite vividly. We hear the “Promenade” again, and are then ushered into “Il vecchio castello” (“The Old Castle”), where a troubadour (a medieval courtly singer) sings a wistful song. Next, we hear (and can almost see) “Bydlo,” the Polish oxcart, slowly approaching and the going away as its ponderous melody gets first louder and then softer.


A much shortened “Promenade,” more lyrical in tone than before, leads into the “Ballet of the Unhatched Chicks.” This movement is based on the designs Hartman had made for the ballet Trilbi at the Maryinsky Theatre in St. Petersburg. In the ballet, a group of children appeared dressed up as canaries; others, according to a contemporary description, were “enclosed in eggs as in suits of armor,” with only their legs sticking out of the eggshells.

The next picture is titled, in the original, “Samuel Goldenberg und Schmuyle.” Hartman had painted a number of characters from the Jewish ghetto in Sandomierz, Poland, including a rich man in a fur hat and (in a separate image) a poor one sitting with his head bent. Although Mussorgsky left no explanation of the movement, it has traditionally been understood as an argument between two Jews, one rich, the other poor. The rich Jew is represented by a slow-moving unison melody stressing the augmented second, considered an “Oriental” interval and indeed frequent in certain forms of Jewish chant and folk music with which Mussorgsky was familiar. The poor man is characterized by a plaintive theme whose repeated notes seem to be choking with emotion. Then, the two themes are heard simultaneously. In Ravel’s orchestration, Goldenberg has the entire string section at his command, while Schmuyle tries to defend himself, desperately, to the sound of a single muted trumpet.

“Limoges, the Market: The Big News” portrays the hustle and bustle of an open market in France where people are busy gossiping and quarrelling. What a contrast to go from here immediately to the “Catacombs.” Hartman’s watercolor shows the artist, a friend and their guide, who is holding a lantern, examining the underground burial chambers in Paris. On the right, one can see a large pile of skulls

which, in Mussorgsky’s imagination, suddenly begin to glow. The “Promenade” theme appears completely transfigured, as the inscription in the score says, Cum mortuis in lingua mortua (“With the dead in a dead language”).

The next section, (“The Hut on Fowl’s Legs: Baba Yaga”) evokes the witch of Russian folktales who lives in just such an edifice. According to legend, Baba Yaga lures children into her hut where she eats them. According to one recent retelling of the story, she “crushes their bones in the giant mortar in which she rides through the woods propelling herself with the pestle and covering her tracks with a broomstick.” Hartman had designed a clock in the form of the famous hut; its design survives only as a sketch. Mussorgsky’s movment, whose rhythm has something of the ticking of a giant clock, has a mysterious-sounding middle section, after which the wilder and louder first material returns.

The “witch music” continues directly into the grand finale (“The Knights’ Gate in the Ancient City of Kiev”), inspired by an ambitious design that was submitted for a competition but never built. For the immense architectural structure, Mussorgsky provided a grandiose melody resembling a church hymn and presented in rich harmonies. This theme alternates with a more subdued second melody, harmonized like a chorale. Near the end, the movement incorporates the “Promenade” theme; it leads directly into the magnificent final climax that, in many ways, symbolizes the grandeur of old Russia.

Duration of complete work: 30:00Last CSO perf of work: 1/27/2011 with Jean-Marie Zeitouni, conductor




SATURDAY, JANUARY 9, 2016, 8:00 P.M.

RUSSIAN WINTER FESTIVALConcert 2

THE OHIO THEATRE

Rossen Milanov, conductorNatasha Paremski, piano


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SERGEI RACHMANINOFF Concerto No. 3 in D Minor for Piano and Orchestra, Op. 30 I. Allegro ma non tanto II. Intermezzo III. Finale Natasha Paremski, piano


DMITRI SHOSTAKOVICH Symphony No. 5 in D Minor, Op. 47 I. Moderato II. Allegretto III. Largo IV. Allegro non troppo


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With her consistently striking and dynamic performances, pianist Natasha Paremski reveals astounding virtuosity and voracious interpretive abilities. She continues to generate excitement from all corners as she wins over audiences with her musical sensibility and flawless technique.

Born in Moscow, Natasha moved to the United-States at the age of 8 and became a US citizen shortly thereafter. She is now based in New York.

Natasha was awarded several very prestigious artist prizes at a very young age, including the Gilmore Young Artists prize in 2006 at the age of 18, the Prix Montblanc in 2007, the Orpheum Stiftung Prize in Switzerland. In September 2010, she was awarded the Classical Recording Foundation’s Young Artist of the Year.

Her first recital album was released in 2011 and it debuted at No. 9 on the Billboard Traditional Classical chart. In 2012 she recorded Tchaikovsky’s first concerto and Rachmaninoff’s Paganini Rhapsody with the Royal Philharmonic Orchestra and Fabien Gabel on the orchestra’s label distributed by Naxos.

Natasha has performed with major orchestras in North America including Dallas Symphony Orchestra, Los Angeles Philharmonic Orchestra, San Francisco Symphony Orchestra, San Diego Symphony, Toronto Symphony, Baltimore Symphony, Houston Symphony, NAC Orchestra in Ottawa, Nashville Symphony, Virginia Symphony, Oregon Symphony, Colorado Symphony, and Minnesota Orchestra. She tours extensively in Europe with such orchestras as the Royal Philharmonic Orchestra, Bournemouth Symphony Orchestra, Vienna’s Tonkünstler Orchester, Royal Scottish National Orchestra, Orchestre de Bretagne, the Orchestre de Nancy, Royal Liverpool Philharmonic Orchestra, Tonhalle Orchester in Zurich, Moscow Philharmonic, under the direction of conductors including Peter Oundjian, Andres Orozco-Estrada,

Jeffrey Kahane, James Gaffigan, Dmitri Yablonski, Tomas Netopil, JoAnn Falletta, Fabien Gabel, and Andrew Litton. Natasha has toured with Gidon Kremer and the Kremerata Baltica in Latvia, Benelux, the UK and Austria and performed with the National Taiwan Symphony Orchestra in Taipei.

Natasha has given recitals at London’s Wigmore Hall, the Auditorium du Louvre in Paris, Schloss Elmau, Mecklenburg-Vorpommern Festival, Verbier Festival, Seattle’s Meany Hall, Kansas City’s Harriman Jewell Series, Santa Fe’s Lensic Theater, Ludwigshafen BASF Series, Teatro Colon in Buenos Aires, Tokyo’s Musashino Performing Arts Center and on the Rising Stars Series of Gilmore and Ravinia Festivals.

With a strong focus on new music, Natasha’s growing repertoire reflects an artistic maturity beyond her years. In the 2010-11 season, she played the world premiere of a sonata written for her by Gabriel Kahane, which was also included in her solo album. At the suggestion of John Corigliano, Natasha brought her insight and depth to his Piano Concerto with the Colorado Symphony. In recital, she has played several pieces by noted composer and pianist Fred Hersch.

Natasha continues to extend her performance activity and range beyond the traditional concert hall. In December 2008, she was the featured pianist in choreographer Benjamin Millepied’s Danse Concertantes at New York’s Joyce Theater. She was featured in a major two-part film for BBC Television on the life and work of Tchaikovsky, shot on location in St. Petersburg, performing excerpts from Tchaikovsky’s First Piano Concerto and other works. In the winter of 2007, Natasha participated along with Simon Keenlyside and Maxim Vengerov in the filming of Twin Spirits, a project starring Sting and Trudie Styler that explores the music and writing of Robert and Clara Schumann, which was released on DVD. She has performed in the project live several times with the co-creators in New York and the UK, directed by John Caird, the original director/adaptor of the musical Les Misérables.

Natasha began her piano studies at the age of 4 with Nina Malikova at Moscow’s Andreyev School of Music. She then studied at San Francisco Conservatory of Music before moving to New York to study with Pavlina Dokovska at Mannes College of Music, from which she graduated in 2007. Natasha made her professional debut at age nine with the El Camino Youth Symphony in California. At the age of fifteen she debuted with Los Angeles Philharmonic and recorded two discs with Moscow Philharmonic Orchestra under Dmitry Yablonsky, the first featuring Anton Rubinstein’s Piano Concerto No. 4 coupled with Rachmaninoff’s Paganini Rhapsody and the second featuring all of Chopin’s shorter works for piano and orchestra.

N ATA S H A PA R E M S K I , p i a n o


Piano Concerto No. 3 in D minor, Op. 30 (1909)by Sergei Rachmaninoff (Oneg, Russia, 1873 – Beverly Hills, CA, 1943)

The decade before Rachmaninoff’s emigration from Russia was, without a doubt, the apex of his career as a composer. Between 1907 and 1917 he wrote many of his greatest works: in addition to the Third Piano Concerto, the Second Symphony, the symphonic poem The Isle of the Dead, the choral symphony The Bells, the Liturgy of St. John Chrysostom, and a large number of songs and piano pieces all date from those years.

The Third Piano Concerto was written for Rachmaninoff’s first American tour in 1909. The composer never dreamt at the time that he would be visiting the country where he would eventually make his home and where he would die. He accepted the offer only after some hesitation, and then only because he hoped that the fees he was promised would allow him to realize his dream of buying an automobile.

In this work, Rachmaninoff aspired to be worthy of the 19th-century virtuoso tradition in every respect. The last of the great Romantic pianist-composers in the lineage of Chopin, Liszt, and Rubinstein, Rachmaninoff also wanted, it seems, to emulate the synthesis between concerto and symphony achieved in the two piano concertos of Brahms. This is shown by the many orchestral solos that join, and sometimes compete with, the piano soloist, as well as by the numerous thematic links between movements, carefully planned and masterfully executed.

Rachmaninoff’s Third Piano Concerto certainly doesn’t lack pianistic brilliance (to say the least). But the first two dozen measures of the piano part could actually be played by a child. This is the famous “Russian hymn” theme that some commentators have tried to trace to an old religious chant from Kiev, although Rachmaninoff insisted that there was no such connection. When asked how his theme had been conceived, the composer said only: “It simply wrote itself!…”

The first theme is immediately repeated by the violas, accompanied by piano figurations that grow more and more complex. The changes in texture are gradual, and in less than three minutes, the “Russian hymn” evolves into a cadenza. A new idea is then announced, first in the form of a staccato dialog between piano and orchestra, and only then as the singing second theme that we have been expecting. After a spectacular elaboration upon this theme, the “Russian hymn” returns in its original form, introducing a free development section in the course of which the rhythmic accompaniment of the first theme is always clearly heard. At the climactic moment, the tempo becomes faster and the entire orchestra enters fortissimo on a dissonant diminished seventh chord. Soon the pianist launches into the second and main cadenza. Rachmaninoff later replaced his original cadenza with an even bigger one, but he preferred to play the first version. The cadenza includes an accompanied portion with haunting wind solos recalling the “Russian hymn,” and a fantasy, for piano alone, upon the singing second theme. Therefore, the cadenza effectively functions as the movement’s recapitulation, and all that is needed afterward is a brief coda. The coda states the “Russian hymn” in its original form one last time, followed by the first staccato version of the second theme that has been heard in this form only once before. By repeating it, Rachmaninoff gave it a place in the larger structure of the concerto.




The second-movement “Intermezzo” opens with an orchestral introduction, which is the only moment of rest the pianist gets during the entire work. Presented in turn by woodwinds and strings, the soulful melody is subsequently taken over by the piano, considerably intensified in the process. The virtuoso figurations surrounding the theme form a bridge to the next section, a brief scherzando, in which the “Russian hymn” from the first movement reappears, played by the clarinet and bassoon. The “Intermezzo” melody is then recalled, followed by a transition of a few measures leading into the finale.

The themes of the last movement are in turn sharply rhythmic and expansively lyrical. The central portion is divided between a brilliant scherzando and a central “Lento molto espressivo” (slow, very expressive), all derived from materials heard in the first movement. What was originally a lyrical second theme becomes the basis for a series of scintillating variations, combined at one point with the “Russian hymn.” The “Lento” is, in essence, another variation on the first movement’s second theme. After a recapitulation of the opening themes, the tonality changes from D minor to D major, for an ending that is both solemn and jubilant.

Rachmaninoff on Gustav Mahler, who led the second performance of the Third Piano Concerto:

Mahler was the only conductor whom I considered worthy to be classed with [Arthur] Nikisch [the most celebrated conductor of the time]. He touched my composer’s heart straight away by devoting himself to my Concerto until the accompaniment, which is rather complicated, had been practiced to the point of perfection, although he had already gone through a long rehearsal. According to Mahler, every detail of the score was important – an attitude which is unfortunately rare among conductors.

Duration of complete work: 44:00Last CSO perf of work: 11/8/2009 with Jean-Marie Zeitouni, conductor; Barry Douglas, piano


Symphony No. 5 by Shostakovich (See under Access 2, page 26-27)


FRIDAY, FEBRUARY 19, 2016, 8:00 P.M.SATURDAY, FEBRUARY 20, 2016, 8:00 P.M.

MUSICAL POSTCARDSTHE OHIO THEATRE

Peter Stafford Wilson, conductorPascal Rogé, piano


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BEDRICH SMETANA “The Moldau” from Má vlast

CAMILLE SAINT-SAËNS Concerto No. 5 in F Major for Piano and Orchestra, Op. 103 (“Egyptian”) I. Allegro animato II. Andante III. Molto allegro Pascal Rogé, piano


JOHN LUTHER ADAMS Dream in White on White

OTTORINO RESPIGHI Le fontane di Roma [The Fountains of Rome] I. The Fountain of Valle Giulia at Dawn II. The Triton Fountain at Morn III. The Fountain of Trevi at Mid-day IV. The Villa Medici Fountain at Sunset

NIKOLAI RIMSKY-KORSAKOV Capriccio espagnol, Op. 34


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Peter Stafford Wilson has served the Columbus Symphony since 1990 when he joined the conducting staff as Assistant Conductor. In 1993 he was promoted to Associate Conductor, and since that time has appeared on all of the CSO’s subscription, education and outreach series. For several years he served as artistic director of the Festival Weeks at the Southern Theater, played a prominent role in the CSOvations Series, and led the popular Gospel Meets Symphony performances. He has also led the CSO in performances throughout the State of Ohio, and in collaborative productions with BalletMet Columbus.

Wilson also leads the nationally renowned Columbus Symphony Youth Orchestras program, conducting the senior orchestra, the Columbus Symphony Youth Orchestra and the Columbus All-City Orchestra, comprised of students from the Columbus City Schools. Under Wilson’s leadership, the CSYO has appeared at national conventions of the Music Educators National Conference and the League of American Orchestras. The group has also toured internationally, with highly acclaimed performances in Canada, Europe, China, and Hong Kong. The CSYO appeared under Wilson’s leadership at New York’s famed Carnegie Hall in 2015. In 2010, the CSO honored Wilson with its Honorary Music Educator

of the Year Award for his 20 years of service to the CSO’s education activities.

Born in Greensboro, North Carolina, Peter Stafford Wilson graduated from the University of Cincinnati College-Conservatory of Music, where he was a protégée of the late Thomas Schippers. He also attended L’Accademia Santa Cecilia in Rome, the Aspen Music School, and the Pierre Monteux School for Conductors. He also has held conducting posts with the Canton Symphony Orchestra, the Eastern Music Festival, the Ohio Light Opera, and the Cincinnati Symphony. Wilson enjoyed a lengthy association with the Cleveland Orchestra, acting as cover conductor for performances at Severance Hall and the Blossom Music Center.

In addition to his duties with the CSO, Wilson has served the Springfield Symphony Orchestra as Music Director since 2001, and in 2010 won a League of American Orchestras/ASCAP Award for Adventuresome Programming for his commitment to contemporary American music in collaboration with the SSO. He has also led the Westerville Symphony at Otterbein University as Music Director for 19 years. Since 2012, Wilson has served the Tulsa Ballet as Principal Conductor leading four main stage productions each season with the Tulsa Symphony Orchestra.

Peter Stafford Wilson’s American guest conducting invitations have come from the orchestras of Charlotte, Chautauqua, Dallas, Detroit, Indianapolis, Louisville, North Carolina, Phoenix, Seattle, and Syracuse, among many others. Internationally, he has appeared in China, Europe, and South America.

Wilson resides in Westerville with his wife Barbara Karam Wilson, Tax Manager for White Castle System, Inc, and when not conducting, he is an avid golfer, wine enthusiast, and gourmet cook.

P E T E R S TA F F O R D W I L S O N , c o n d u c t o r


Pascal Rogé exemplifies the finest in French pianism. Born in Paris, he was a student of the Paris Conservatory and was also mentored by Julius Katchen and the great Nadia Boulanger. Winner of Georges Enesco piano competition and 1st prize of Marguerite Long Piano competition, he became an exclusive Decca recording artist at the age of seventeen. His playing of Poulenc, Satie, Fauré, SaintSaëns and especially Ravel, is characterized by its elegance, beauty and stylistically perfect phrasing.

Mr. Rogé has performed in almost every major concert hall in the world and with every major orchestra across the globe and has collaborated with the most distinguished conductors in history, including Lorin Maazel, Michael Tilson Thomas, Mariss Jansons, Charles Dutoit, Kurt Masur, Edo de Waart, Alan Gilbert, David Zinman, Marek Janowski, Sir Andrew Davis, Raymond Leppard and others.

One of the world’s most distinguished recording artists, Pascal Rogé has won many prestigious awards, including two Gramophone Awards, a Grand Prix du Disque and an Edison Award for his interpretations of the Ravel and SaintSaens concerti along with the complete piano works of Ravel, Poulenc and Satie.

Several years ago, Mr. Rogé began a new and ambitious recording project for Onyx called the Rogé Edition. With the Vienna Radio Symphony under Bertrand de Billy, he has recently recorded two CDs of both of the Ravel Piano Concerti and the Gershwin Concerto in F and Rhapsody in Blue.

Recently, Pascal has enjoyed playing recitals for fourhands/twopianos with his partner in life and in music Ami Rogé. Together, they have travelled the world appearing at prestigious festivals and concert halls and recorded several CDs dedicated to the French 2 piano and 4 hands repertoire. In 2011 they have given the premiere of a newly commissioned Concerto for Two Pianos by the composer Matthew Hindson with the Sydney Symphony Orchestra conducted by Vladimir Ashkenazy.

Recently chairman of the Geneva Piano competition, Pascal Rogé is also dedicated to teaching and gives regular masterclasses in France, Japan, United States and United Kingdom.

PA S C A L R O G É , p i a n o


The Moldau (1874)by Bedrich Smetana (Litomyšl, Bohemia[now Czech Republic], 1824 – Prague, 1884)

In his cycle of six symphonic poems, Má Vlast (“My Country”), written between 1872 and 1879, Bedrich Smetana paid tribute to the natural beauties and heroic history of his native Bohemia. The Moldau, composed second, became the most popular of the set. Smetana provided the following outline to the contents of the composition:

The work depicts the course of the river Vltava (Moldau), beginning from the two small sources, the cold and warm Vltava, the joining of both streams into one, then the flow of the Vltava through forests and across meadows, through the countryside where gay festivals are just being celebrated; by the light of the moon a dance of water nymphs; on the nearby cliffs proud castles, mansions, and ruins rise up; the Vltava swirls in the St. John’s rapids, flows in a broad stream as far as Prague, the Castle Vyšehrad appears, and finally the river disappears in the distance as it flows majestically into the Elbe.

Each of these episodes, indicated in the score, is also clearly audible in performance. Throughout the work, unity is achieved by the use of the famous Moldau theme, adapted from a Swedish folksong Smetana heard while living in Sweden in the late 1850s. The Israeli national anthem, Hatikvah (“Hope”) is based on the same melodic formula.


Piano Concerto No. 5 (“Egyptian”) in F major, Op. 103 (1896)by Camille Saint-Saëns (Paris, 1835 – Algiers, 1921)

Camille Saint-Saëns was an indefatigable traveller in his later years. He especially liked the Mediterranean climate of the North African shores. He regularly returned to Algiers (where he died at the age of 86

in 1921), and visited Egypt on numerous occasions. During these trips, he always kept his ears open for local melodies, which inspired him in his compositions. (His long-standing interest in the Middle East is also evident from his best-known opera, Samson and Delilah, completed in 1877.) In addition to human music, Saint-Saëns even notated the chirping of crickets in Egypt, and claimed to have used that motif in his Fifth Piano Concerto. Yet Saint-Saëns, committed classicist as he was, never allowed those unusual features to break up the crystal-clear musical structures that were the hallmark of his style. He was a keen observer of the world, but he never lost himself in the distant places he visited: his uniquely Parisian wit is in evidence at every turn.

The movement containing most of the local color is the second, an andante whose first theme, preceded by an agitated introduction, conjures up Middle Eastern associations by the frequent use of the augmented second. This rhapsodic melody is followed by a more placid one, quoting, according to Saint-Saëns himself, “a Nubian love song that I heard sung by the boatmen on the Nile as I went down the river in a dahabieh [a type of large passenger boat].” The frequent parallel triads of the piano passages, which never remain within the bounds of any one tonality, reinforce our sense of removal from our usual environment. (Michael Stegemann, author of an in-depth study of Saint-Saëns’s concertos, noted some surprising similarities between this movement and Manuel de Falla’s Nights in the Gardens of Spain, written about a decade later.)

This unique centerpiece is flanked by two fast movements, equally pleasant though less exotic in style. The first movement begins with a melody that would be quite banal were it not for a slight modal flavor in the harmonizations that changes its character considerably. Some dazzling pianistic fireworks soon follow; a lyrical second theme is developed and taken through numerous transformations in melodic shape and orchestral color. The recapitulation is particularly noteworthy for the way the first melody is broken up between the orchestra’s wind and string sections, while the piano adds virtuoso ornamental material.




The perpetual motion of the third-movement Molto Allegro is only momentarily interrupted by more lyrical moments. In the words of an early commentator, its “gay little march tune might almost suggest a happy return to the Paris boulevards.”

Duration of complete work: 29:00Last CSO perf of work: 10/6/1990 with Michael Morgan, conductor; Pascal Rogé, piano

Dream in White on White (1992)by John Luther Adams (b. Meridian, Mississippi, 1953)

Although he grew up in the Deep South, John Luther Adams is strongly identified with the Alaska wilderness, where he has lived most of his life. (His poignant essay, Leaving Alaska, was published in The New Yorker this past June.) Adams, who won the 2014 Pulitzer Prize in Music for his orchestral piece Become Ocean, has written many works inspired by the deep silence and white landscapes of the Northern wilderness—exquisitely pure, slow-moving sounds where little seems to “happen” until we learn to discover the life underneath the frozen surface, the minute variations in what seems to be a uniform, unchanging texture.

In fact, a great deal happens in Dream in White on White, but the happenings are all on the inside, as it were. As the composer noted, the music is “white” on two different counts: every single pitch in the piece belongs to the C-major scale (the white keys on the piano) and much of the motion is very slow, notated in whole notes and half-notes, both with white noteheads. Yet the piece is not in C major: the white notes are arranged in completely unconventional ways, and the “white” rhythmic values are altered according to various asymmetrical proportions (for instance, three against four against five) so that the result is anything but simple or predictable. The work is divided into a number of sections, with each one slowly melting into the next. The sections have revealing titles in the score: “White Clouds,

rising”—“Lost Chorales”—“Fourths, falling”—“and Fifths, rising”—“Chorales on Chorales”—“and Clouds, remembered…” Similar titles indicate similar musical materials, and in fact, the outline of the piece is completely symmetrical. The “chorale” sections and those with fourths and fifths move slightly faster than the others, in quarter-notes. The “clouds” at the beginning and the end consists of long-held notes in the strings and brief, four-note arpeggio figures on the harp. The composer specified that the players use the Pythagorean tuning in which the perfect fifth is an exact 3:2 ratio, slightly higher than in the equal temperament that has become standard in Western music. These very small but important differences contribute a great deal to the purity of the sound in Adams’s piece. (The composer acknowledged that his title “is distantly related to Kasimir Malevich’s suprematist canvas White on White.”)

Duration of complete work: 16:45Last CSO perf of work: Columbus Symphony Orchestra premiere

The Fountains of Rome (1916)by Ottorino Respighi (Bologna, 1879 – Rome, 1936)

If it is at all possible to set a whole city to music, Ottorino Respighi did it in his magnificent orchestral trilogy The Fountains of Rome (1916), The Pines of Rome (1923-24), and Roman Festivals (1928). In his colorful and virtuosic orchestral language, Respighi conjured up vivid impressions of memorable places and moments in his favorite city.

The first piece of the triptych, The Fountains of Rome, was meant to convey (as Respighi himself notes in the score) “the sentiments and visions suggested to him by four of Rome’s fountains at the hour in which the character of each is most in harmony with the surrounding landscape, or in which their beauty appears most suggestive to the observer.” The score contains the following additional descriptions of the individual movements:


The first part of the poem, inspired by the Fountain of Valle Giulia, depicts a pastoral landscape; droves of cattle pass and disappear in the fresh, damp mists of a Roman dawn.

A sudden loud and insistent blast of horn above the trills of the whole orchestra introduces the second part, the Triton Fountain. It is like a joyous call, summoning troops of naiads and tritons [mythological water creatures], who come running up, pursuing each other and mingling in a frenzied dance between the jets of water.

Next there appears a solemn theme, borne on the undulations of the orchestra. It is the Fountain of Trevi at midday. The solemn theme, passing from the wood to the brass instruments, assumes a triumphal character. Trumpets peal; across the radiant surface of the water there passes Neptune’s chariot, drawn by sea-horses and followed by a train of sirens and tritons. The procession then vanishes, while faint trumpet blasts resound in the distance.

The fourth part, the Villa Medici Fountain, in announced by a sad theme, which rises above a subdued warbling. It is the nostalgic hour of sunset. The air is full of tolling bells, birds twittering, leaves rustling. Then all dies peacefully into the silence of the night.

The four musical images (played without pauses) represent in turn dawn, morning, noon, and evening, forming a natural cycle that also creates a meaningful musical form, from slow and quiet to a maximum tempo and volume and back again to the subdued beginning. What is constant is Respighi’s virtuoso handling of orchestral color; even the shortest and simplest melodic fragment takes on a special lustre when played by carefully selected instrumental combinations.

Duration of complete work: 15:00Last CSO perf of work: 2/9/2002 with Alessandro Siciliani, conductor

Capriccio espagnol, Op. 34 (1887)by Nikolai Rimsky-Korsakov (Tikhvin, Russia, 1844 – Lyubensk, 1908)

“According to my plans, the Capriccio was to glitter with dazzling orchestral color, and manifestly, I had not been wrong”—wrote Rimsky-Korsakov in his autobiography, titled My Musical Life. The Capriccio espagnol, completed in the summer of 1887, was an instant success even before the premiere: the musicians of the Imperial Opera orchestra in St. Petersburg applauded each section already at the first rehearsal. Then after the first performance, an enthusiastic audience demanded that the entire piece be immediately repeated.

Rimsky-Korsakov was not the first Russian composer to be attracted to the landscapes and music of the Mediterranean. Tchaikovsky wrote his Capriccio italien seven years earlier. Both composers were preceded, and inspired, by Mikhail Glinka, the “father of Russian music,” as he was called: Glinka had composed his Capriccio brillante, based on the jota dance of Spain’s Aragon region, in 1845. Glinka had spent a great deal of time in Spain, just as Tchaikovsky wrote his Italian Capriccio in Italy. Rimsky-Korsakov, on the other hand, had stopped in Spain only briefly while, as a young naval officer, he was returning from a three-year voyage that had taken him to the United States and South America. The tunes used in the Capriccio came to him from a book of Spanish folk music; his personal copy has been preserved, containing all the authentic melodies that had found their way into the score.

Rimsky-Korsakov could have arranged the Spanish folk melodies in a suite, where the different tunes followed one another in a loose sequence. Instead, he chose to give the work a sense of unity by organizing it around a main melody, heard at the beginning, in the middle and at the end. This melody is called “Alborada,” or “dawn song.” Alboradas are usually played on the bagpipe to the accompaniment of a side-drum. (Another famous work inspired by this musical form is Ravel’s “Alborada del gracioso.”)




The lively opening “Alborada” is followed by a set of slow variations, whose simple melody is repeated several times, played by varying instrumental combinations. After the return of the “Alborada,” we move on to a section called “Scene and Gypsy Song,” which opens with a series of virtuoso cadenzas (the first for horns and trumpets, and then one each for violin, flute, clarinet, and harp). Then, finally, the orchestra launches into the impassioned Gypsy song.

The colorful “Fandango”—another Spanish dance—ends with the return of the now-familiar “Alborada.”




WE’LL KEEP SCARY THINGS OUT OF THE DRINKING WATER.

(YOU TAKE CARE OF THE MONSTERS UNDER THE BED.)

THE BACKYARD. THE KITCHEN. HER BEDROOM. The environment is not just some

far off place. It’s freshly washed sheets, your mother’s shoulder, and the glass

of water on the nightstand. And it’s why the Natural Resources Defense Council

is working to protect the places that are most important to each and every one

of us. For easy ways to help protect your own environment, go to NRDC.org.

Because the environment is everywhere.


FRIDAY, MARCH 18, 2016, 8:00 P.M.SATURDAY, MARCH 19, 2016, 8:00 P.M.

DVORÁK AND HAYDNTHE OHIO THEATRE

Robert Moody, conductorMark Kosower, cello


• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

CHRISTOPHER THEOFANIDIS Muse I. brilliant, fiery II. with a light touch, ornate III. willful, deliberate

FRANZ JOSEPH HAYDN Concerto in C Major for Cello and Orchestra, H. VIIb:1 I. Moderato II. Adagio III. Allegro molto Mark Kosower, cello


ANTONIN DVORÁK Symphony No. 7 in D Minor, Op. 70 I. Allegro maestoso II. Poco adagio III. Scherzo: Vivace IV. Finale: Allegro


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Robert Moody has been Music Director of the Winston-Salem Symphony (North Carolina) since 2005, Artistic Director of Arizona Musicfest since 2007, and Music Director of the Portland Symphony Orchestra (Maine) since 2008.

Mr. Moody’s 2015-2016 season included debuts with the Vienna Chamber Orchestra and Columbus Symphony, as well as return engagements with the Memphis and Pacific Symphonies, and the Oklahoma City Philharmonic.

His most recent guest conducting appearances include the Chicago Symphony at Ravinia, and the Los Angeles Philharmonic at the Hollywood Bowl, in addition to the symphonies of Toronto, Houston, Indianapolis, Detroit, Seattle, Ft. Worth, San Antonio, Buffalo, Louisville, and, in Europe, the Slovenian Philharmonic. Summer festival appearances include Santa Fe Opera, Spoleto Festival USA, Brevard Music Center, Eastern Music Festival, PortOpera, and the Oregon Bach Festival.

Equally at home in the opera pit, Moody began his career as apprentice conductor for the Landestheater Opera in Linz, Austria. He has gone on to conduct at the opera companies of Santa Fe, Rochester, Hilton Head, and the Brevard Music Center. He also assisted on a production of Verdi’s Otello at the Metropolitan Opera, conducted by Valery Gergiev.

He debuted with the Washington National Opera and North Carolina Opera in 2014.

Moody served as Associate, then Resident Conductor, of The Phoenix Symphony (AZ) from 1998 through 2006. There he conducted a wide variety of concerts, including Classics, Chamber, Pops, Family, Handel’s Messiah, and the New Year’s Eve gala. His ability to speak with ease from the podium helped new converts to classical music and enthusiasts alike to gain a greater appreciation for orchestral music. Audiences at his concerts grew considerably during his time in Phoenix. Moody also founded The Phoenix Symphony Chorus, and for seven years was Music Director of the Phoenix Symphony Youth Orchestra.

Prior to Phoenix, Maestro Moody served as Associate Conductor for the Evansville (IN) Philharmonic Orchestra, and Music Director (and founder) of the Evansville Philharmonic Youth Orchestra. Moody conducted the first professional performance of a work by the brilliant young composer Mason Bates, now Composer-in-Residence with the Chicago Symphony Orchestra, and was instrumental in the commissioning and premiere performances of several of his important new works for orchestra.

Maestro Moody has accompanied many of the world’s greatest performing artists, including Yo-Yo Ma, Itzhak Perlman, Renee Fleming, Denyce Graves, Andre Watts, Nadja Salerno-Sonnenberg, Midori, Time for Three and Chris Thile.

His work can be heard on several commercially released compact disc recordings. He collaborated with the Canadian Brass for their “Bach” and “Legends” CDs; he is also the conductor for the CD “4th World,” highlighting the music of Native American recording artist R. Carlos Nakai (available on the Canyon Record label); and in 2010, the Winston-Salem Symphony released their performance (live from 2009) of Beethoven’s Symphony No. 9. A DVD of Beethoven Symphony No. 9 with Arizona Musicfest was released in 2012.

R O B E R T M O O DY, c o n d u c t o r


Mark Kosower, a consummate artist equally at home internationally as a recital and concerto soloist and as Principal Cello of the Cleveland Orchestra, launches his 2015/16 concert season with performances of the Haydn C Major Concerto with Nicholas McGegan conducting the Cleveland Orchestra at the Blossom Music Festival. Other season solo engagements include Victor Herbert’s Concerto #2 with the Dayton Philharmonic, Strauss’s Don Quixote with the Indianapolis Symphony conducted by Andrey Boreyko, the Brahms Double Concerto with violinist William Preucil and Franz Welser-Most conducting the Cleveland Orchestra at the Adrienne Arsht Center for the Performing Arts in Miami, the Dvorak Concerto with John Nelson conducting San Jose’s Symphony Silicon Valley and Haydn’s C Major Concerto with the Columbus Symphony conducted by Robert Moody.

Earlier in 2015, Mark Kosower, at the invitation of Toledo Symphony music director Stefan Sanderling, performed the enigmatic and jazz influenced cello concerto of Friedrich Gulda in Toledo to great acclaim, and joined the Hawaii Symphony and Carlos Miguel Prieto to perform the Lalo Concerto prior to recording both Victor Herbert Concertos with JoAnn Falletta and Belfast’s Ulster Orchestra for Naxos. He is a frequent guest at international chamber music festivals including the Santa Fe, the Eastern Music, the North Shore Chamber Music, the Pacific Music (of Japan), and Colorado’s Strings Music festivals among others.

In past seasons he has appeared internationally as soloist with the Rotterdam Philharmonic, the Orchestre de Paris, the Hong Kong Philharmonic, the China National Symphony Orchestra in Beijing, the National Symphony Orchestra of Taiwan, the Brazilian Symphony Orchestra, the Orquestra Filarmonica de Minas Gerais in Brazil, and the Orquestra Sinfonica de Venezuela, as well as solo performances at the Chatelet in Paris, the Alte Oper in Frankfurt, the Hong Kong Cultural Centre, and the Teatro Municipal in Rio de Janeiro. In the USA previous concerto appearances with the Cleveland Orchestra were with Bramwell Tovey conducting the Samuel Barber Concerto, Herbert Blomstedt conducting the Dvorak Concerto, and Ton Koopman and Boccherini’s Concerto in D Major G.479. Other orchestral appearances have included the symphony orchestras of Detroit, Florida, Grand Rapids, Houston, Indianapolis, Milwaukee, Minnesota, North Carolina, Oregon, Phoenix, Seattle, Syracuse, Virginia, the Ravinia Festival and the St. Paul Chamber Orchestra and recitals at the Kennedy Center, Aspen Music Festival, Philadelphia Chamber Music Society, the National Gallery of Art and on the Great Performer’s Series at Lincoln Center.

An active advocate of 20th and 21st century music. Mark Kosower has brought lesser-known contemporary masterworks to international attention in recent years. His 2011 Naxos release of the two cello concertos of Alberto Ginastera, with Lothar Zagrosek conducting the Bamberg Symphony Orchestra, has won widespread critical acclaim and, with his 2008 disc of the complete Ginastera works for cello and piano, he became the first cellist to record the complete catalogue of works for solo cello by the composer. Also in 2011 Naxos released Kosower’s world premiere performance recording of Miklos Rozsa’s Rhapsodie for Cello and Orchestra with the Budapest Concert Orchestra MAV. He also recorded the Walton Concerto with James DePriest and the Oregon Symphony.

He is a former member of Chamber Music Two, a two-year residency at the Chamber Music Society of Lincoln Center. He received an Avery Fisher Career Grant, a

M A R K KO S O W E R , c e l l o


SONY Grant, and has been a top prize winner in both the Rostropovich and Pablo Casals International Cello competitions including a special prize in both competitions for the best interpretation of the newly commissioned works by Marco Stroppa and Cristobal Halffter He was the Grand Prize winner of both the Irving Klein International String Competition and the WAMSO Competition of the Minnesota Orchestra.

Mark Kosower is Teacher of Cello at the Cleveland Institute of Music and is on the faculty at the Kent/Blossom Music Festival. His previous posts include Solo Cellist of the Bamberg Symphony Orchestra in Germany from 2006–2010, and Professor of Cello and Chamber Music at the San Francisco Conservatory of Music from 2005–2007. He began his cello studies with his father at the age of 1½, and later studied with Janos Starker at Indiana University and Joel Krosnick at The Juilliard School.

M A R K KO S O W E R , c e l l o


Muse (2007)by Christopher Theofanidis (b. Dallas, 1967)

The composer has provided the following comments on his work:

I wrote Muse in 2007 for the Orpheus Chamber Orchestra as part of their series called “The New Brandenburgs” in which that ensemble commissioned six composers to write new works based on the instrumentation of Bach’s Brandenburg Concerti. Bach wrote these pieces as a kind of job audition for a post in Brandenburg—a post which he ironically did not get, but these pieces have become a part of the repertory in any case. They each have a distinctive orchestration because of the peculiar make-up of the Brandenburg court orchestra, which had benefited from the disbanding of a great orchestra in Berlin and had received some of their star players. Each of them can be played as a kind of large chamber ensemble or as a small orchestra piece.

I was given the third Brandenburg concerto instrumentation which is for strings and harpsichord, though the strings are not divided in the standard orchestral division of five parts, but rather in ten- 3 violins, 3 violas, 3 ‘cellos, and contrabass. Bach used this breakdown to great effect by thickening each of the principal lines in 3, using a broader paint brush for each of the parts of the counterpoint. Despite this, he remarkably achieves a light and transparent sound, and I tried to move toward this way of working in my piece.

The general sound world is also quite closely Baroque in harmony and rhythm. The first movement has a running sixteenth note figure, which is actually a minor triple-meter version of the main melodic line in the first movement of the Bach. This is balanced by a short motive of three repeated notes followed by a single lower note.

The second movement is highly ornate with a long-lined melody always in the background. The third movement is based on one of my favorite Bach chorale tunes (though he himself adapted it from a Medieval period chant), Nun komm’ der Heiden Heiland.

Duration of complete work: 12:00Last CSO perf of work: Columbus Symphony Orchestra premiere

Cello Concerto in C major (cca. 1762-65)by Joseph Haydn (Rohrau, Lower Austria, 1732 – Vienna, 1809)

Of the three Viennese classical masters, Haydn—who otherwise had much less interest in the concerto than either Mozart or Beethoven—was the only one to write works for cello and orchestra. The most likely explanation for this is that, as Kapellmeister to Prince Nikolaus Esterházy, Haydn worked closely with many excellent instrumentalists in the prince’s orchestra. Concertos were welcome additions to the programs of the twice-weekly musical “academies,” for which so many of Haydn’s symphonies were written. (It should be noted that many of Haydn’s early symphonies also contain extended, almost concerto-like, instrumental solos.)

The Concerto in C major, the first of Haydn’s two cello concertos, was written about two decades before the D-major work. For many years, this concerto was thought to be lost; only its first two measures were known from the handwritten catalog Haydn had kept of his own works. Even more frustrating, this catalog contained not one but two almost identical incipits (opening measures) for concertos in C major. In 1961, Czech musicologist Oldr ich Pulkert discovered a set of parts in Prague that corresponded to one of the two catalog entries. It was published and, of course, immediately taken up by cellists everywhere. As for the other entry, it could have been a simple mistake or a discarded variant.

On stylistic grounds, scholars have dated the C-major concerto from between 1762 and 1765; it is certainly an early work, from the first years of Haydn’s tenure at Eszterháza (1761-1790). It belongs to that transitional period between Baroque and Classicism whose greatest representative, Carl Philipp Emanuel Bach (1714-1788), had a strong influence on the young Haydn. The continuity of the rhythmic pulse and the numerous identical repeats of the first movement’s main theme are definitely Baroque features, while the shape of the musical gestures points to the emergence of a new style that would later be known as Classicism.

The original cello part shows that the soloist was expected to play along with the orchestra during tutti passages, reinforcing the bass line. The solo part is extremely demanding, with rapid passagework that frequently




ascends to the instrument’s highest register. The second-movement Adagio, in which the winds are silent, calls for an exceptionally beautiful tone, and the last movement for uncommon brilliance and stamina. Surely the first cellist of Haydn’s orchestra, Joseph Weigl, must have been an exceptional player!

Duration of complete work: 25:00Last CSO perf of work: 5/15/2008 with Junichi Hirokami, Conductor; Yo Yo Ma, Cello

Symphony No. 7 in D minor, Op. 70 (1885)by Antonín Dvorák (Nelahozeves, Bohemia [now Czech Republic], 1841 – Prague, 1904)

When Dvorák first conducted his own music in London in March 1884, both the audience and the critics responded enthusiastically. The 43-year-old Czech master received the same warm welcome from the English that Mendelssohn had in the 1830s and ‘40s, and Haydn during the 1790s. After the success of the Symphony in D major (No. 6), Dvorák was immediately invited by the Philharmonic Society to write a new symphony for the following season.

Elated by his international triumphs, Dvorák had to face a much less uniformly favorable opinion closer to home. Although he was clearly emerging as the greatest living composer in Bohemia (Smetana had died, after a long illness, in 1884), he was facing a serious artistic dilemma concerning his relationship with Viennese musical circles. Bohemia being part of the Austro-Hungarian empire, Vienna (the Imperial capital) was naturally the artistic arena in which a Czech composer’s reputation had to be established. By going to London, Dvorák had bypassed that arena in which he had not done too well. It is true that, in 1879, Hans Richter had performed the Third Slavonic Rhapsody in Vienna; but the Symphony No. 6, the work that Richter had asked Dvorák to write, could not be premiered in Vienna due to nationalistic prejudice. The redoubtable critic Eduard Hanslick, one of the supreme arbiters of musical taste in Vienna, recommended that Dvorák follow the Germanic tradition more closely; he exhorted him to write songs to German texts, and informed him in a letter that the Court Opera might welcome a German opera by Dvorák. (There was little interest in Dvorák’s Czech operas at the Hofoper.) To Dvorák, an ardent Czech patriot, this would have meant

a betrayal of some of his most deeply held convictions. The Austrians, after all, were regarded as political and cultural oppressors of Bohemia. And yet, the temptation was great; hence what Dvorák biographers see as the composer’s “spiritual crisis” in 1884-85. This crisis was resolved when Dvorák finally decided not to write the German opera for Vienna.

It is generally believed that Dvorák’s dilemma is reflected in the two major works he composed around this time: the Piano Trio in F minor (Op. 65) and the Symphony No. 7 (Op. 70). But despite Dvorák’s nationalistic feelings that made him reject, or at least limit, the Austro-German influence on his music, he could never completely escape that influence. In his youth, he had been a Wagnerian. He later turned away from Wagner and became an admirer of Brahms, in whom he also found a great supporter and a personal friend.

Brahms himself, unlike his friend Hanslick, never wanted Dvorák to give up his Czechness; nor did he want his younger colleague to imitate his (Brahms’s) style. Yet Brahmsian echoes may be found in many of Dvorák’s works; in the Seventh Symphony, written shortly after Brahms’s Third, these links are particularly strong.

Much has been made of a superficial resemblance of the first movement’s second subject to the cello solo from the third movement of Brahms’s Second Piano Concerto (1881). The two melodies share a common melodic line at the beginning but they continue differently and their rhythm, harmonization, tempo, and general character are not the same. A deeper kinship between Brahms and Dvorák may be found, however, in the methods of motivic development employed. In his D-minor Symphony Dvorák used a tighter dramatic construction than elsewhere; he didn’t dwell on his themes for as long as he usually did, but instead emphasized the connections among them. We do not often get the feeling in Dvorák, as we do in the Seventh, that everything follows inevitably from previous events; that feeling is almost always present in the music of Beethoven and Brahms.

Dvorák achieved this Brahmsian intensity by melodic means that were entirely his own. The opening theme of the symphony, for instance, played by the violas and cellos over a rumble of horns, double basses and timpani, displays that characteristic “modal seventh” that Dvorák often preferred


to the classical leading tone. The modal seventh (C natural instead of the expected C sharp), found in many folk-music traditions, gives this theme a slightly exotic (and certainly un-Brahmsian) flavor. The theme is then developed along classical lines: the opening theme is taken from pianissimo to fortissimo, then followed by a lyrical second theme, after which the opening idea returns to close the exposition.

In the much condensed development and recapitulation, the two main ideas of the movement continue to alternate, their contrast ensuring dramatic tension to the end. The recapitulation concludes on a fortissimo climax followed by an entirely soft coda where the opening “rumble” returns and the main theme disintegrates into short phrases before a quiet D-minor chord brings events to a halt.

The second movement begins with a hymn-like melody not unlike that of the slow movement of Beethoven’s “Emperor” Concerto. As in the first movement, however, there is a single note that profoundly changes the character of the otherwise classical melody. The theme would be perfectly conventional if the next-to-the-last note of the first phrase were a G. Since it is an A, however, we get an unusual harmonic progression that is unmistakably Dvorákian. This melody becomes the starting point for highly expressive and rhythmically complex developments, with much beautiful solo writing for horn, clarinet, and flute; after a powerful climax, the hymn melody returns in its original form and the second movement closes in a triple piano, as the first did.

The third-movement scherzo is based on the rhythm of the Czech folk dance furiant, in which triple and double meters mix according to the scheme “one-two-three one-two-three one-two one-two one-two.” This insistent rhythm relents in the slower trio whose themes have a more legato character

(the notes slurred rather than separated). At the same time, the unsettling tremolos of the cellos and basses prevent the music from becoming too relaxed. The transition back to the furiant is particularly memorable, as is the coda at the end in which the violas suddenly play a new lyrical melody as the tempo slows down once again. But this time, Dvorák doesn’t allow the movement to fade away in a whisper; the furiant theme returns, assuming a truly “furious” character (pun intended: the name of the dance has nothing to do with “fury”).

The finale begins in a dark mood with a brooding melody that, in contrast to most melodies heard so far in the symphony, is full of expressive half-steps, and emphasizes the augmented second, another interval that is more at home in folk traditions than in Romantic symphonies. After expanding on this material with a rhythmic regularity that recalls Schumann, a lyrical second subject is reached, introduced by the cellos in the major mode. This theme is, like the first, taken from the initial low volume to a full orchestral fortissimo, followed immediately by another, mystical-sounding pianissimo as a new section (the development section) begins. The movement’s main theme is now fragmented and transposed to a number of remote tonalities; then a vigorous fugato section (one part imitating the other) leads back to the original form of the main theme. The symphony closes with a few measures of “Maestoso,” which don’t resolve the movement’s tensions but rather freeze them in a grand gesture full of pathos and passion.

Duration of complete work: 38:00Last CSO perf of work: 1/11/2004 with Thomas Wilkins, Conductor

-Notes by Peter Laki




2015 – 2016 PROGRAM

The American Sound!Grades 3–5 Oct. 21, 2015Rossen Milanov, conductorFrom folk melodies to movie scores, celebrate America through music influenced by our American heritage.

Roar, Buzz & Tweet: All About AnimalsGrades K–2Apr. 6, 2016Peter Stafford Wilson, conductorCats, cows, and birds will meow, moo and warble as Maestro Wilson presents animals, both tame and wild, depicted in orchestral music.

iSymphonyGrades 6–12Apr. 7, 2016Peter Stafford Wilson, conductorThe orchestra performs some gems of the classical music repertoire to inspire students’ own playlist of classical music.

LINK UP: The Orchestra SingsGrades 3–5May 12, 2016Rossen Milanov, conductorMelody is one of the universal elements of music. Composers and musicians create melodies, which can be sung or played on instruments.

For questions about these and other Columbus Symphony education programs, contact the Education Department at 614.221.4916 or online at www.columbussymphony.com\Education

Each year, thousands of students throughout the greater Columbus area participate in the Columbus Symphony’s Young People’s concerts. These thematically based and grade appropriate concerts are performed at the Ohio Theatre giving students the opportunity to experience the excitement of a live orchestra performance. Conductors Rossen Milanov and Peter Stafford Wilson provide commentary throughout the concert, encouraging students to recall lessons learned in class prior to the concert. Repertoire is grade-appropriate and curriculum materials follow the guidelines as specified in the Ohio academic content standards for fine arts and other subjects. Pre-concert materials, developed by local music educator Rebecca Ogden and based on the standards, are provided for teachers and students. Programs are often narrated by local celebrities or local music educators. A traditional highlight of the grades 3–5 concert involves a student chosen from the audience to conduct the orchestra. Following each concert, teachers are asked to evaluate their experience to help the experience grow and meet their needs in succeeding seasons. A newer addition to the YPC concerts is a partnership with Carnegie Hall’s Weill Institute of Music in presenting Link Up: The Orchestra Sings. This highly participatory program, conducted by Rossen Milanov, for students in grades 3-5 unites the classroom with the concert hall through a year-long curriculum of classroom activities culminating in a concert where the students sing and play recorders with the orchestra from their seats.

“Kids need this cultural experience!” — Pickaway County teacher

Young People’s Concerts

BRAVO Education Page 2 .indd 1 10/21/15 1:02 PM


BOARD OF TRUSTEES Lisa Barton, Chair

Executive Vice President—AEP Transmission, American Electric Power

Alan Litzelfelner, Treasurer

President & CEO—Central Management Co.

Derrick Clay, Secretary

President—New Visions Group, LLC

G. Ross Bridgman, Partner—Vorys, Sater, Seymour & Pease, LLP

Robert Cochran, Chief Compliance Officer & Partner – PDS Planning

Johanna DeStefano, Professor Emeritus – The Ohio State University

Hector Garcia, Senior Council, Regulatory Services – American Electric Power

J. Daniel Good, Ph.D., Superintendent/CEO – Columbus City Schools

Marilyn Harris, Community Volunteer

Cindy Hilsheimer, Managing Principal—BeecherHill

Chris Irion, Founder & CEO – e-Cycle

Michelle Kerr, President and Chairman – Lightwell

Talvis Love, SVP Enterprise Architecture & Chief Information Security Officer – Cardinal Health

David Manderscheid, Executive Dean and Vice Provost— College of Arts and Sciences, OSU

Edward Miller, Senior Vice President & Director, National Media Relations – Fahlgren Mortine

Robert E. Morrison, Jr., Senior Vice President – Huntington Bank/Huntington Trust

Cliff Olsen, Partner – Deloitte & Touche

Greg Overmyer, CEO—Overmyer Hall Associates

Amy Shore, President, P&C Exclusive Distribution – Nationwide

Sheldon A. Taft, Retired. Partner—Vorys, Sater, Seymour & Pease, LLP

Christine Willig, President, K-12 – McGraw-Hill Education

EX-OFFICIO TRUSTEESSusan Cochran, President—CSO League

William B. Conner, Jr., Managing Director and CEO— Columbus Symphony

Susan Mancini, President—CSO Women’s Association

Karl Pedersen, Member—Orchestra Committee

Betsy Sturdevant, Chair—Orchestra Committee

HONORARY TRUSTEESGene D’Angelo Anne Melvin

Ronald A. Pizzuti Zuheir Sofia

ADMINISTRATIONExEcUTIvEWilliam B. Conner, Jr., Managing Director and CEOJulianna M. Fish, Vice President and Chief Operating OfficerArline Dimitri, Executive Assistant

ARTISTIc OpERATIONSPavana Stetzik, General ManagerLinda Oper, Orchestra Personnel ManagerDavid Frost, Principal LibrarianJean-Etienne Lederer, Asst. LibrarianWilliam Lutz, Stage Manager

dEvElOpMENTDenise Rehg, Vice President of DevelopmentNichelle Atkinson, Sr. Manager of Individual GivingCarl P. McCoy, Donor Relations ManagerCortney Porter, Special Events ManagerSusan Ropp, Foundations and Grants ManagerKatie Cullen, Donor Records Coordinator

EdUcATION / cOMMUNITy OUTREAcHJeani Stahler, Director of EducationDevon Broderick, Youth Orchestras Manager

fINANcE & AdMINISTRATIONChad Whittington, Vice President & Chief Financial OfficerJohn Callahan, Director of FinanceDeanna Jones, ControllerJon Lowrey, GL Accountant

MARkETINgKathy Karnap, Director of MarketingRolanda Copley, PublicistMartina Cisneros, Web & Social Media CoordinatorTrevor Arwood, Digital Media and Marketing AssistantAnna C. Schaeffer, Marketing Assistant

TIckETINgRich Corsi, Vice President Programming and TicketingMike Marks, Director of TicketingJoLane Campbell, Group Sales CoordinatorShawn Collier, CSO Subscription Sales & Ticket Manager

C O L U M B U S S Y M P H O N Y O R C H E S T R A


T H E W O M E N ’ S A S S O C I A T I O N O F T H E C S O

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

To join, contact Susan at [email protected].

Lois AllenCharlene BarriePatricia BartonMary BeitzelRhoma BerlinKatherine BoehmBelle BolesJean BorgheseSue BouzounisRuth BrownCatherine BrubakerSelene ButtersJo-Anne CammarnLouise CarlePatricia CarletonJosie ChaseSusan ChildsAnn ChristoforidisBarbara ChukoPatricia CookeNorma CowanJanet CoxElizabeth CunibertiMargaret DavisEllyn DekkerJohanna DeStefanoSidney DillDonna DivineJill DrakeMonica DunnGussie Dye-ElderFlo Ann EastonEleanor EbertsJeanine F. EllisMary Jane EsselburneEileen EvansPatricia EvansMary Lou FairallJean FeddersenNancy FisherMarjorie FontoJoan FouchtPauline FritzJoanie FryeLois Fulmer

Morgan GelacekCatherine GerberDonna GerholdPatricia GibboneyValerie GibbsCatherine GrafHarriet GrailBarna GravesSandra GreenCarol GreeneMarjorie GurvisHelen HallWinona HamiltonSandra HeusinkveldAnne HighlandDarlene HilsabeckElizabeth HollandJacqueline HolzerLois HornbostelJune HufRose HumeAlice HuntSusan HutsonEleanor HyattDarlene JonesKatharine JonesPamela Jean JonesMarianne JordingGisela JosenhansMelba KabelkaMary Lou KableDianne Keller-SmithLenna KlugBeverly Michele KoenigNancy KolsonDenise KontrasBarbara LachJoAnne LangSally LarrimerMary LazarusNancy LeeSusan LifterMary LongMiriam LucasDonna Lyon

Susan ManciniMarilyn MarcyJanice MarksDeborah MatanMarianne MathewsSondra MatterClemya MatthewsDeborah Norris MatthewsPeggy McCannLinda McCutchanJane McKinleyBarbara McShefferyPeggy MerrillJane MintonKathleen MoggFloreese MooreGretchen MoteBarbara McAdam MullerSandy MurrayBarbara MustricJutta NeckermannBetsy Ann NicholsPat NicholsTherese NolanMary NourseAlice NowaczekCarol O’ConnorSandy OsterholtzMitzi PanicoIlona PerencevichKatie PotterSandra PritzVictoria ProbstMarilyn RaidtDenise RehgLisa RhyanMaryann RinschVirginia RonningCloa RoseJodi RossSusan RuffingMarina RuizJeannine RyanNancylu Sarver

Nancy SavageLois SechlerBarbara ShaferMartha SheeranEva SheppardBrenda SimpsonMarilyn SmithKathy SnappPatricia SprouseVera SpurlockLibby StearnsEvelyn StevensEileen StimpertEleanor StottlemyerLouise SwansonJulia TagueJeannette TeterAngela ThomasFrances ThurmanDeborah ThyerMuriel TiceMargaret TillierClaryss TobinCaryl TrittipoMartha TykodiSuzanne Van HorneGeorgia VerlanyJan WadeShirley WagnerJoan WallickSharon WalquistBarbara WeaverEloise WeilerMarilyn WenrickBabette WhitmanJanice WhittakerMary WhittakerLowell WilliamsJanice Minton WoodSally WoodyardMary Lou WrightMarjorie WylieShirley YablokCarol Zanetos


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

C O L U M B U S S Y M P H O N Y O R C H E S T R A L E A G U E

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

ACTIVE MEMBERSConstance BauerJean BayMarcia BennettSusan BerryConnie CahillLyn CharobeeBarbara ClarkChris CloseSusan CochranJudy ConnellyLorie CopelandLouise DimascioPhyllis DuyMarion FisherBelle FranciscoDonna GerholdVictoria HaywardCarol HuberAmelia Jeffers

Darlene JonesSubha LembachJune LovingPeggy MaloneSharie McQuaidSue Ann MooreMarilee MuellerBarbara MullerCarol PaulColette PetersonMickey PheanisSally PilcherGay Su PinnellDiane PrettymanLyn SavidgeJudith SwansonJennifer TiellJudy UckerMary WeatherwaxGwen Weihe

SUSTAININGBrenda AidtSharon BeckBarbara BennettMartie BullockDottie ChesebroughPam ConleyMary GreenleeMarilyn HarrisEstelle KnappJane McMasterGerri PetermanDenise RehgPatricia SmithDeb SusiSandy Willetts

HONORARYJude Mollenhauer


With gratitude, the Columbus Symphony Orchestra acknowledges all of our Corporate and Foundation supporters. This publication lists names of donors who made gifts, pledges and in-kind donations of $250 or more in the 2015 fiscal year (Sept. 1, 2014 – Aug.31, 2015).

Please contact the Development Office at (614)221-5249 if an error has occurred in compiling this information.

$150,000 AND ABOVEAmerican Electric PowerCardinal HealthGreater Columbus Arts CouncilL BrandsNationwide FoundationNationwide Insurance

$100,000–$149,999Ohio Arts Council

$50,000–$99,999ADSThe Columbus FoundationPNC Arts Alive

$25,000–$49,999All Life FoundationCentral Management CompanyColumbus Symphony Orchestra LeagueHuntington National BankWomen’s Association of CSO

$10,000–$24,999Anonymouse-Cycle LLC/Chris and Tonia IrionEmerson Network Power/Leibert Corp.Gardner, Inc.Giant Eagle Market District

GraetersGreif, Inc.Honda of America Mfg.Johnstone Fund for New MusicMartha Holden Jennings FoundationMorris and Emma B. Woodhull Fund of

The Columbus FoundationOhioHealthSafelite AutoglassSiemer Family FoundationThe Ohio State UniversityThe Reinberger FoundationVorys, Sater, Seymour, and Pease, LLP

$5,000–$9,999AnonymousAbercrombie & FitchBattelle Memorial InstituteBig Lots, Inc.CDDC/Capitol South, E.Crane GroupFahlgren MortineHeidelberg Distributing Co.Mattlin FoundationMerrill LynchMount Carmel Health SystemPlaskolite Inc.Porter Wright Morris & Arthur LLP

$2,500–$4,999Ann and Gordon Getty FoundationJP Morgan ChaseThe Robert Weiler Company

$1,000–$2,499FabcoLive Technologies LLCMesser ConstructionOnline Computer Library CenterPremier AllergyThompson Hine LLP

$500–$999AnonymousAXA FoundationBudros, Ruhlin and RoeDerrick ClayIBM CorporationU.S. Bancorp Foundation

$250–$499ExxonMobil FoundationGAP Foundation Gift Match ProgramJP Morgan Chase Foundation

P A R T N E R S I N E X C E L L E N C E

C O R P O R A T E A N D F O U N D A T I O N P A R T N E R S

Anonymous (2)ADSLois H. AllenChris and Lisa BartonRhoma BerlinJim and Susan BerryAlfred H. BivinsBelle M. BolesG. Ross and Patricia BridgmanMr. Don M. CastoMr. and Mrs. Jack H. ChabotJoseph A. and Linda J. ChlapatyRobert A. and Susan CochranJeffrey and Lisa EdwardsCornelia FergusonDonald and Eydie Garlikov

Don and Marilyn HarrisCindy and Larry HilsheimerTad and Nancy JeffreyMorris A. JonesLinda and Frank KassMary LazarusLyman LeathersAlan and Ginny LitzelfelnerNancy and Tom LurieAngela and Michael MahaffeyLawrence and Katherine MeadJoseph and Johanna MearaAnne MelvinTed and Karen MeyerAnne Powell-Riley

Margaret RennerPat and Nancy RossAnn and Richard RoyerRobert and Anita SmialekGeorge and Patricia SmithZuheir and Susan SofiaErnest and Aurelia SternE. Thomas SturgesSheldon and Rebecca TaftMrs. Jacqueline ThomasJennifer Tiell and Mark AdelspergerDavid H. and Rachel B. TimmonsCraig D. and Connie WalleyDr. Gifford Weary and David AngeloTom and Gwen Weihe

We gratefully acknowledge the following (2014-2015) season Partners in Excellence, who are leading the way to sustain the CSO’s positive momentum.


$250,000 AND ABOVEAnonymousAnne Melvin

$50,000–$149,999AnonymousJoseph A. and Linda J. ChlapatyMargaret RennerAndy and Sandy Ross

$25,000–$49,999AnonymousMrs. Rhoma BerlinG. Ross and Patricia BridgmanRobert A. and Susan CochranCSO Musicians Outreach Fund of

The Columbus FoundationAllen and Muriel GundersheimerTad and Nancy JeffreySheldon and Rebecca Taft

$10,000–$24,999Anonymous (2)Lois H. AllenGeorge Barrett and Deborah NeimethChris and Lisa BartonMrs. Marjorie O. DavidsonTom W. DavisDr. Johanna DeStefanoJames P. Garland and Carol J. AndreaeMr. and Mrs. Martin InglisLinda and Frank KassMrs. Mary LazarusAngela and Michael MahaffeyDavid and Mary Beth MeuseDavid H. and Rachel B. Timmons

$5,000–$9,999Anonymous (4)Belle M. BolesFlorence CabakoffMr. Don M. CastoMrs. Loann W. CraneDr. and Mrs. Jerome J. CunninghamRosemary DasselJames and Ruth DeckerDodson FoundationMr. and Mrs. C. John EastonJeffrey and Lisa EdwardsCindy and Larry HilsheimerJill KingsleyNancy and Tom LurieMark MelvinJane P. Mykrantz

Anne Powell-RileyMr. and Mrs. Tadd SeitzGeorge and Patricia SmithKim and Judith SwansonThomas R. Gross Family FoundationCraig D. and Connie WalleyDr. Gifford Weary and David AngeloTom and Gwen WeiheMr. and Mrs. Willis S. White, Jr.John and Christine Willig

$2,500–$4,999Anonymous (3)Jim and Susan BerryMr. Alfred BivinsPenny and Richard BlattiTheodore and Lynn CoonsBeth Crane and Richard McKeeCornelia FergusonHector GarciaMr. and Mrs. Jules L. GarelDonald and Marilyn HarrisJim and Vickie HessRichard HillisJack and Zoe JohnstoneMorris A. JonesRosemary O. JoyceMichelle KerrRuth and Bill LantzAlan and Ginny LitzelfelnerMs. Fran LuckoffDavid ManderscheidLawrence and Katherine MeadTed and Karen MeyerAnne M. and Edward K. MillerRobert and Lori MorrisonBarbara and Mervin MullerTom and Melanie MurrayMiss Helen A. NutisCliff and Sherlyn OlsenGreg and Alicia OvermyerDoug PreisseGeorge D. RyersonMr. and Mrs. W. Alan ShoreMrs. Jacqueline ThomasDr. Constance Bauer and James Vaughan

$1,000–$2,499Anonymous (8)John J. and Elizabeth M. AllemongAllene N. Gilman Charitable TrustJohn and Sine-Marie AyresNed K. and Jane L. BarthelmasPaul and Tere Beck

Nadine BlockMr. and Mrs. Thomas H. BrinkerDorothy BurchfieldConnie and Denny CahillJames and Patricia CaldwellDorothy Loew CameronMr. and Mrs. Jack H. ChabotAmy and Jim ChapmanTanyeh and Derrick ClayMichael B. Coleman and Janelle SimmonsBill and Karen ConnerJanet and Robert L. CoxJameson CraneMichael S. and Paige D. CraneCarl CumminsMr. and Mrs. Irving DennisGarrett and Sidney DillCharles and Alice DriscollMr. and Mrs. Thomas DriskellJean R. DrosteDavid and Anne DurellMs. Barbara K. FergusJoan FuhrmanBetty Lou FurashMs. Linda G. GabelMr. Joe GalatiBob GardnerEydie and Don GarlikovAndreas and Sara GarnesNorm and Carolyn Piper GearhartBarbara and Ralph GoettlerBarna J. GravesRichard and Linda GuntherDr. Edward L. HamblinMr. Jeff HarrisGrayson and Elizabeth HeffnerLee Hess and Irene LevineEllis and Beverly HittTed and Eileen HustonFred and Judy IsaacRonald J. Jenkins and William B. DavisDaniel L. JensenHerb and Jeanne JohnstonTom and Mary KatzenmeyerDouglas S. KerrSandra KightTim and Michelle KoenigBob and Karen LaneThomas LauderdaleMr. and Mrs. Robert E. LindemannMary C. LongFrederick LoydJeffrey and Wendy LuedkeLowell and Nancy MacKenzie

I N D I V I D U A L P A R T N E R S

With gratitude, the Columbus Symphony Orchestra acknowledges all of our individual donors. This publication lists names of donors who made gifts, pledges and in-kind donations of $250 or more in the 2015 fiscal year (Sept. 1, 2014 – Aug. 31, 2015).

Please contact the Development Office at (614)221-5249 if an error has occurred in compiling this information.



Margaret MaloneRobert Falcone and Natalie MarshSondra MatterJohn and Nancy McEwanDonald and Ruth McGinnisDennis and Sharie McQuaidBob and Susan MeederDr. Violet I. Meek and Don DellDaniel MendelsohnRossen MilanovMr. and Mrs. Stephen NachtDr. Deborah Parris and Dr. David BisaroCarol and Jim PaulGeorge and Ruth PaulsonMrs. Thomas C. PetersPaul and Colette PetersonGay PinnellRon and Ann PizzutiSandra and Howard PritzMartyn and Lynne RedgraveDenise RehgJudy and Dean ReinhardMr. and Mrs. F. David ReschWayne and Cheri RickertLois E. RobisonPat and Nancy RossRichard L. and Ann L. RoyerJames and Marilyn ScanlanJennifer SchneiderDavid R. SchoolerRobert and Ann ShellyMr. and Mrs. Arthur E. ShepardMr. Samuel ShumanLarry and Cheryl SimonRobert and Anita SmialekJeff SoppJeff and Jeani StahlerErnest and Aurelia SternChristine StinecipherMark and Gail StorerElizabeth and Thomas SturgesEric and Michelle SutphinJennifer Tiell and Mark AdelspergerSusan Tomasky and Ronald UngvarskyNancy and Ray TraubMichael Van BuskirkDr. James and Jacquelyn VaughanRay and Nancy WaggonerBrendan and Jane WareFrancis and Lillian WebbMarilyn P. WenrickCynthia M. WhitacreRobert and Carole WilhelmDrs. Jonathan and Olive WilkinGreg ZanetosJane H. Zimmerman

$500–$999Anonymous (8)Judith H. AhlbeckDr. Craig and Deborah AndersonMichelle AndreMarilyn and Ray BarkerRichard and Sharon BatesPaul and Jan BaumerRick and Kay BidwellLynn A. BirdDr. Paul and Lynn BlowerMr. and Mrs. James BoggsRita and Mike BourlandCarol Ann BradleyDr. and Mrs. J. Richard BriggsMrs. Margaret BroekemaRobert B. and Nancy G. BrownMarjorie and John BurnhamRobert V. ByrdClaire D. CarpenterPaul and Elyse ChambersGary ChasinBarbara ChukoJoe CisnerosBarbara ClarkMatthew Cohen and Susan GearyRichard and Lynn ColbyJeffrey and Gloria CopelandSuzanne and Ken CulverElizabeth F. CunibertiPatricia Cunningham and Craig HasslerMr. and Mrs. Jerome DareRuth DeaconPhilip and Susan DeVolMary Kay and Bill DickinsonGreg and Barbara DillonMs. Cynthia DorwartDr. Miles E. and Amy S. DrakeAnn DreherAndy and Diane DunnPhyllis and Hal DuryeePhyllis DuyVirginia K. EbingerMrs. Ann EkstromJanet and Bill EnglefieldFrank and Jean ForsytheJohn and Ann FowbleBen and Karen FreudenreichCraig and Marsha FriedliMr. Dave FritzSusan GarciaDon and Karen GardinerGeorge and Michelle GeissbuhlerHelen GelzerMr. Thomas A. GerkeJoseph GlandonSylvia Golberg

Robert and Beverly GoldieMartin Golubitsky and Barbara KeyfitzDon GoodN. Victor and Elaine GoodmanDr. Steven I. and Gaybrielle GordonThomas R. Gross Jr.Donald and Patricia HarpNelson O. Harper and Nolan W. LongJohn C. HarrisMary Louise HawkinsMichael HuggettFern E. HuntKiehner JohnsonDouglas and Darlene JonesSteve and Diane JonesSue and Seth KantorRaymond and Karen KarlsbergerMr. Chris KellerMary and Ken KellerBrian KenneyDr. A. Douglas and Helen KinghornAndrea KirshRoger and Barbara KussowAnne M. LaPidusDr. Michael and Mrs. Helene LehvKay LeonardElizabeth LivingstonHoward and Jane LongfellowJohn LoomanMr. and Mrs. Charles K. LovingSarah Wurdlow and Richard LuckayManfred and Rose LuttingerBenjamin MartinRachel C. MartinMark MassenGeorge and Carolyn McConnaugheyJim and Priscilla MeeksDavid and Betty MeilPatricia MelvinRuth and Fred MillerJudith E. Kleen and Robert S. MillsAl and Louise MinorKaren M. and Randall E. MooreMichael and Michele MoranFrank R. MorrisGretchen and Scott MoteIvan and Marianne MuellerZoltan and Anna NemethErika J. NesholmAnnegreth T. Nill and Bruce C. PoseyAnn and Bob OakleyAndrew and Riek OldenquistRichard and Ellin PatchenDonald and Cynthia PaynterGerri and Loyal PetermanTracy and Julie PetersMr. and Mrs. A. Kenneth Pierce, Jr.


Sara and Mason PilcherVicki and Steve ProbstRichard H. and Judith B. ReuningLisa RhyanJeffrey and Christine RodekHank and Pat SchlakeMr. and Mrs. William J. SheppardMs. Junko ShigemitsuMichael ShultzJames SkidmoreSteve SkilkenElliot and Retta SlotnickMarcia Katz SlotnickMrs. Norman T. SmithRichard and Betty SmithMrs. Beatrice K. SowaldMr. and Mrs. William H. StadtlanderPavana and Thomas StetzikJojo and Chuck StricklerMargie and Mike SullivanRalph and Joan TalmageAngela M. ThomasGeorge and Pamela ThomasChristopher and Susan TimmLarry TiptonMark and Katherine TuckerJohn W. and Diane VandervoortKathleen VarleyJim and Jordy VentrescaJeff and Gwen Von HoltenJan WadeRichard H. and Margaret R. WagnerThomas and Mary WeatherwaxProf. Charles M. WeisDr. and Mrs. Kenneth B. WeiseMark WhittWilna M. Dykes Charitable Living TrustSarah WintersJanice Minton WoodBecky WrightSusan and Nathan YostJane B. Young

$250–$499Anonymous (14)John and Janet AdamsGeorge W. Ahl IIIRobert and Patricia AlbertDaria ArbogastBill and Diana ArthurMargaret L. AtkinsonMary T. BabcockIrving and Marcia BakerElaine T. BarnumBarry Zacks WHV Endowment FundPatricia BartonMary Beth and Ron Berggren

Mrs. Naomi BlodgettSharon and Dennis BloseRobert and Susan BoberDr. and Mrs. Byron J. BossenbroekMr. and Mrs. Thomas F. BrandtVivian BroehmRichard and Priscilla BrommerHoward and Phyllis ByerMs. Muriel A. ByersWilliam and Patricia CarletonBuzz CarterThomas ChapmanGeorge and Susan ChioranLarry and Ginny ChristophersonTed and Lorrie ClarkMs. Sharon K. CohodesCharlotte and Mike CollisterAaron ConnellJohn and Judith ConnellyFred and Tschera ConnellFrank and Susan CookBill and Dolly CorbittMrs. Catherine S. CorzineJim CraftRobert and Mary CrummGene CuticchiaLisa DahillMs. Kathleen DavenportJoanne E. DegroatRichard J. DickJames DitmoreAllen and Ann DominekMichael Dreiling and Siau-Hsuan ChenSue Ellen EickelbergDavid and Ann ElliotTerry EpsteinBernie and Linda ErvenMark R. Ervin and Nancy NiemuthDr. and Mrs. Roy FarnemanMartha FawcettLawrence and Marion FisherJere ForsytheEdwin and Martha FosterMarcia and Al FriedmanThe Rev. Earl and Pauline FritzFather David FunkMary and Reinhard GahbauerDr. Annie Marie GarrawayMartin and Dorothy GelenderWilliam and Patricia GianakopoulosJohn And Valarie GibbsRobert and Deborah GibsonGary L. and Cynthia GillenRaimund and Sharon GoerlerAnn B. GrafCatherine S. GrafWilliam Bookman

Mike and Harriet HadraDavid E. and Sarah L. HahnDavid and Sharon HainesDr. Robert and Sunnie HalletBeth and Bob HamiltonDr. and Mrs. Thomas J. HawkDuane and Judy HaysDr. Sterling HedrickUlrich and Christiane HeinzClyde and Janet HenryMarvin and Nancy HiteRoland and Lois HornbostelDr. and Mrs. Donald R. HouserJ. Patrick and Carolyn HuberJay and Jeanne HuebnerFred and Trixie HyserWilliam and Carolyn JacobMs. Mary Jane JankiKent and Sally JohnsonThomas and Merilynn KaplinRobert J. KaynesMr. Daniel B. KeatingMr. and Mrs. James J. KellerDouglas W. and Deborah KingBruce and Kim KinseyMichael KirkmanJames R. and Lola M. KleinJanet M. KohnMs. Alexa KonstantinosGeorge and Linda KoukourakisDr. Vicki KraftMichael Krippendorf and Dorothy NoyesRandy and Terri LadyJohn LamotteJoan and Wayman LawrenceDr. Jane M. LeibyJoanne LeussingCarrie Lewin MadisonLarry and Becky LinkWarren and Dai-Wei LoMr. and Mrs. Charles LoebSteven LoewengartJames and Clare LongTom LongRichard A. and Barbara A. MarkleMr. Charles W. MarschallRichard T. and Colette Y. MartinWilliam C. MartinJoyce Matthews, Ph.D.Ronald MayerTroy and Nancy MaynardJohn and Patricia McDonaldJohn M. and Pamela H. McManusElizabeth McPhersonMary and John MerrillJohn and Betty MessengerMark and Susan Meuser



Melinda S. MillerLeslie and Ronald MillerSteven and Coleen MillerDaniel J. MinorCharles H. MinterJack and Sue Ann MooreDr. Randolph and Mrs. Elizabeth MosesMarie A. NaberMr. and Mrs. James NearhoodMrs. Jutta NeckermannDavid Neubauer and Jean KrumMarian NicholMarcia and Jared NodelmanRobert and Ann OakleyRobert and Debbie OsborneRaffy and Carmie OuzounianDavid PackerRanga and Anantha PadmanabhanJacqueline B. PasternackRick and Janet PfeifferCharles H. and Debbie PockrasPaul and Barbara PoplisGail and Katie PotterMr. and Mrs. David PresperCharlotte A. PriorHarry E. and Susanna Pukay-MartinMr. and Mrs. William RandolphRaymond and Pauline Kahn

Endowment FundAllyn and Marsha ReillyRonald A. and Barbara RobinsStephen Rogers and Daniel ClementsMr. and Mrs. Dana RudmoseJan RyanMr. Stephen D. RyanDr. Philip and Mrs. Elizabeth SamuelsThomas and Gail SantnerJohn E. Saure and Doreen Uhas-SauerLyn Savidge

Ira and Pamela ScheerPaul and Dianne SchmelingJay and Joyce SchoedingerLenore SchottensteinKevin SeckelBarbara ShapiroDarrell and Teruko SheetsAnne E. ShelineRalph ShunkDr. and Mrs. Charles SinglerDiane and Jim SlagleDouglas and Patricia SlusherThe Revs. Bruce and Susan SmithFrancis C. SmithPaul and Sarah SmithAngela SnyderJoseph C. SommerJohn F. SpangKelly SpenglerJohn and Leslie SpoffTodd StefaniniJohn and Sally StefanoDavid SteigerLaurence and Bette Jo StempelDr. and Mrs. Timothy StorerDr. and Mrs. Frank W. StroebelMelinda Susalla and Mark L. DeanDavid and Louise SwansonJohn H. and Pat B. SweetThomas and Carol SwinehartThomas M. and Mary Ann TaggartMs. Julie TaylorBrant and Mary TedrowRachel Thurston and Steve CaudillJames and Cathy L. TillingMr. James A. TudasJustin and Janice TugaoenTom and Martha Tykodi

Charles and Isabel UngureanLee and Anna VesceliusWebb and Liz VorysJames and Alicia WalkerRichard and Jane WardCatharine and Robert WarmbrodDonna and Rodney WasserstromJoel and Barbara WeaverAlan and Bobbie WeilerKenneth and Kristine WesterheideMichele and Scott WhiteTim and Johanna WhiteMarvin H. and Babette F. WhitmanDonald and Sandra WilettsSteve West and Masa WittkoppArthur P. WoolleyWilliam G. WrightMr. and Mrs. James Zook

IN KINDAdvance Printing and GraphicsMichael BeckermanDavid and Mary BergConnie and Denny CahillCatering By DesignCDDC/Capital SouthPhyllis DuyGiant Eagle Market DistrictLasting Impression Event RentalDennis and Sharie McQuaidAnne MelvinBarbara and Mervin MullerOhio Grape Industries CommitteeRoger W. and Rita J. ParkCarol and Jim PaulPlan Ahead EventsJoel SmirnoffGeorge and Patricia Smith


Plant Trees!Plant Trees!


IN HONOR OFTom BattenbergChuck and Bernice White

Josie ChaseAnonymous

Bob CochranDonald Tumblin

The Columbus Symphony OrchestraAnne Melvin

The Columbus Symphony Orchestra Horn SectionAnonymous

The Columbus Symphony Orchestra MusiciansAnne Melvin

The Columbus Symphony Orchestra Trombone SectionWayne and Cheri Rickert

The Columbus Symphony Orchestra Wind QuintetDonald and Marilyn Harris

Clyde FobesKemper and Nikki Campbell

Joan FouchtWomen’s Association of CSO

Catherine GrafAnonymous

Carol Ann Slick GreeneSanford Friedman

Ida GoldbergEugene Goldberg

Marilyn HarrisAnonymousWomen’s Association of CSO

Rodney HelserAnne Melvin

Margaret HerrmannMary Louise Hawkins

John and Cheryl HillJanice Dunphy

Sue HiteKathleen Ort

Martin and Sue InglisClaudia Speakman

The Jeffrey CompanyAnne Melvin

Ron JenkinsWilliam HensleyAlexa Konstantinos

The Lamonte’ FamilyEllen Berger

Mary LongWomen’s Association of CSO

Barbara McShefferyWomen’s Association of CSO

Betty MeabonAnn Ullom-Morse

Anne MelvinJ. Richard BriggsBen FreudenreichRosemary JoyceMark MelvinJane P. MykrantzMarcia SlotnickElizabeth Sturges

Linda MercerWomen’s Association of CSO

Jutta NeckermanWomen’s Association of CSO

David NiwaWomen’s Association of CSO

Jeff SchneiderCarol Agler

Susan SheafferLinda Maxwell

Dr. Ronald SolomonHarry Finkelman

David TannerNancy and Eugene King

Naomi and Donald ValentineEvelyn Kinzel

Jan WadeWomen’s Association of CSO

Peter Stafford Wilson and the Columbus Symphony Youth OrchestraAnonymous

Evan and Jean WhallonFonda Fichthorn

Janice WoodSidney Dill

In Memory of Dr. Walter BaumAnonymous

Dr. Bill BlairJanet Blair

Odie BowerWomen’s Association of CSO

Tim BoyerLisa Robinson-Boyer

Lee B. BrownEmily Foster

Rudolph BuoiniAnonymous

James BurchfieldWomen’s Association of CSO

Thomas ChaseSidney Dill

Vidah CoulterAnonymous

Lilly CranstonCharlotte A. Prior

Weldon and Etta Mae DavisTerry Davis

Jed DertingerKaren Dertinger

Larry DicksonMr. Terry Dickson

Barbara EasterMarvin Easter

Sherwood FawcettAnne Melvin

T R I B U T E G I F T S

The following donors have made contributions to the Columbus Symphony Orchestra in honor of a friend or loved one between Sept. 1, 2014 – Oct. 31, 2015.

For questions about making a gift in honor or memory of someone, please contact the Development Office at (614)221-5249.


T R I B U T E G I F T S

Mark FluggePatricia Cunningham

Abbot S. GauntAnonymous

Allene N. GilmanAllene N. Gilman Charitable Trust

David GreenleeDavid ColeJeffrey and Gloria CopelandAnna CrooksMary GreenleeAbigail HardingWilliam and Jane Miller

Allen and Muriel GundersheimerKay Leonard

Muriel GundersheimerThe American Harp Society: Columbus ChapterWillard FernaldAnne MelvinJude MollenhauerWendy RhodesSigma Alpha IotaSteven SteinbergWomen’s Association of CSO

JoAnn HallG. Phillip Hall

Marvin HamlischJanet Blair

George HardestyAnonymous

Nelson N. HarperNelson O. Harper

Jane Ellen Bender Heffner and Rear Admiral Grover Chester HeffnerGrayson Heffner

Gladys HosanskyAnonymous

Virginia HullWomen’s Association of CSO

James B. JonesKatherine Borst Jones

Ken KalbelkaSidney Dill

Michael KibbeyMichael J. Kibbey

Janice M. LaddAnonymous

Lenore LoewengartSteven Loewengart

Paul D. LoveMargery Love

Robert J. MassieDr. Michael CaligiuriAnne MelvinRonald and Ann Pizzuti

S. Noel MelvinBudros, Ruhlin and RoeGerda FinkRosemary JoyceMark Melvin

John B. MillerMelinda S. Miller

John Peter Minton, M.D.Janice Minton Wood

Molly MorrisFrank R. Morris

Edward C. NaberMarie A. Naber

Herman NackMary Lou Nack

Mary NitschkeWomen’s Association of CSO

Carl NourseWomen’s Association of CSO

Helen NutisWomen’s Association of CSO

Ann O’NeillPaul O’Neill

June Skirke PalmerPeter EdwardsCatherine GrafWomen’s Association of CSO

Joseph PasquarelloCharles Marschall

Raisa PatlashenkoEugene Patlashenko

Dick PechsteinMark Sander

Merle H. ReissigMartha T. Reissig

Ernst K. RennerMargaret Renner

Dan RosenbaumLisa Robinson-Boyer

Joan Friedman RosenblumSteven Friedman

Bernard R. RubenFlorine C. Ruben

Larry RutherfordRobert Horvat

Judy SheidlerDavid Sheidler

June E. ShunkRalph Shunk

Edwin R. Six IIIH. J. Six

Mary Jeannette SmithFrancis Smith

Elizabeth M. SniderKim Nui Vu

Barbara SolowayJim Putnam

Dorothy SpanglerLugene Spangler

Otto Jay Swisher, IIIMrs. Marilyn E. Swisher

Pat TicknerRon Carmack

Judith UckerDennis and Sharie McQuaidEd and Deborah Susi

Evan WhallonAnonymous

Leslie Ann YovanJohn Yovan


Anonymous (4)James and Lois AllenElizabeth Ann AyersMarcia A. BarckJames W. BartonGeorge W. and Shannon BaughmanSusan and Jim BerryDr. Bertha A. BouroncleThomas H. BrinkerFred and Paula BrothersNeal BrowerFlorence CabakoffDorothy L. CameronRobert and Susan CochranRichard and Lynn ColbyWilliam B. ConnellJanet and Robert CoxJerome and Margaret CunninghamEugene R. and Pauline E. DahnkeRichard I. and Helen M. DennisBrian and Christine DooleyAnn EkstromSherwood and Martha FawcettBarbara K. FergusRobert FirdmanFred and Molly Caren FisherPeg Cook FlemingErnest and Neva FritscheJudy and Jules GarelJane F. GoodmanJack E. and Winifred J. GordonAnne Goss and Richard ColemanCatherine Graf

Allen and Muriel GundersheimerGeorge HaddadJohn A. HageJudy Harris HaysMichael and Victoria HaywardMrs. Jane HeffnerLisa A. HinsonHarold C. HodsonFord and Susanne HuffmanDavid A. JeggleMrs. Katharine JonesLinda S. KassMary and Ken KellerWilliam and Sandra KightFrank A. LazarLyman L. LeathersMary LongFran LuckoffLowell T. and Nancy MacKenzieJames MahoneyMrs. Robert E. MangumMs. Beulah MathersKenneth C. and Jane H McKinleyKathy MeadAnne H. MelvinMr. and Mrs. H. Theodore MeyerRuth MilliganAnnette MolarKaren M. and Randall E. MooreRichard R. Murphey, Jr.Helen NutisMr. and Mrs. Robert A. OakleyV. Jane Osborne

Mrs. Rosalie PaliusJohn M. PellegrinoBetty J. PetersMargaret RennerRichard and Teri ReskowMarty RichardsRocky and Mary RobinsLois RobisonKarlon RoopMildred RosenbergerGeorge D. RyersonJoseph M. B. SarahMerry Ann SaulsJames and Marilyn ScanlanCarl and Elizabeth ScottDorothy Nell SearsJames and Martha SheeranMr. and Mrs. Arthur E. ShepardAnne C. SidnerMarcia Katz SlotnickMarilyn A. Smith JohnsonGeorge and Patricia SmithErnest and Aurelia SternAlden and Virginia StilsonKim and Judith SwansonSheldon and Rebecca TaftDaniel TharpDavid ThomasDavid H. and Rachel B. TimmonsBuzz and Kathleen TraffordCraig D. and Connie WalleyJane H. Zimmerman

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.

A planned gift to the Symphony can ensure that future generations are afforded an opportunity to experience a symphony orchestra of the highest artistic standard.


Patrons with Disabilities: The Columbus Symphony provides accommodations for persons with disabilities. For special seating arrangements, please call the CAPA Ticket Center at (614) 469-0939.

Concert Times: Regular season Friday and Saturday concerts begin at 8 pm.

Latecomers and those who leave the hall once a performance has begun will be seated at the discretion of the house manager during appropriate pauses. To assure that you are able to enjoy the entire concert, we suggest that if you are picking up tickets at Will Call or purchasing tickets, plan to arrive at least 45 minutes prior to the start of the concert.

Please do not bring any packages, bags, or backpacks into the venue. Venue management reserves the right to search such items and to refuse the entrance of such items into the venue. Thank you for your cooperation.

Cameras and recording equipment may not be brought into the concert hall. Please turn your electronic watch, cellular phone, and pager to “off” or set it to “vibrate” prior to performances.

Smoking is not permitted in the venue.

Refreshments are available in the Galbreath Pavilion at the Ohio Theatre. However, food and drinks are not allowed in the concert hall. Refreshments are available in the lobby of the Southern Theatre and you are welcome to take drinks into the concert hall.

Lost and Found: Call (614) 469-1045.

Purchasing Tickets: Phone the CAPA Ticket Center at (614) 469-0939, 9 am to 5 pm weekdays and 10 AM to 2 PM on Saturdays, to purchase tickets by credit card. Discover, MasterCard, Visa, and American Express are accepted. Fax orders are accepted at (614) 224-7273.

Purchase in person at the CAPA Ticket Center, 39 E. State St., 9 am to 5 pm weekdays, 10 am to 2 pm on Saturdays, and 2 hours prior to all Columbus Symphony performances.

Mail orders should be sent to the CAPA Ticket Center, 39 E. State St., Columbus, Ohio 43215.

Online orders can be made at www.columbussymphony.com. All ticket purchases are subject to a theatre restoration fee.

Group rates are available by calling (614) 719-6900.

Emergency Calls: If you need to be reached during the concert, please register your name and seat number at the ticket office so that you can be easily found.

C O N C E R T H A L L & T I C K E T I N F O R M A T I O N




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