Sept 2023 Programs

WELCOME TO OUR 21ST SEASON

1918-1939: 19TH CENTURY ECHOES

The first of two concerts centered on the musically rich period between the World Wars features music that carries forward 19th century traditions by Erich Wolfgang Korngold, Fritz Kreisler, and Florence Price.

Laura Scalzo & Matthew Zerweck, violins

Emily Freudigman, viola

Ken Freudigman, cello

PROGRAM

Much Ado About Nothing for String Quartet, Op. 11

Erich Wolfgang Korngold

The Maiden in the Bridal Chamber (1897-1957)

March of the Watch (Dogbert and Verges)

Masquerade (Hornpipe)

String Quartet in A Minor

Fritz Kreisler

Fantasia (1875-1962)

Scherzo

Einleitung und Romanze

Finale

— INTERMISSION —

String Quartet No. 2 in A Minor

Florence Price

Moderato (1887-1953)

Andante cantabile

Juba

Finale

SEPTEMBER 1, 2023

Friday at 4:00pm

Kerrville First Presbyterian Church

SEPTEMBER 2, 2023

Saturday at 3:00pm

Episcopal Church of the Holy Spirit (NW SA)

SEPTEMBER 3, 2023

Sunday at 2:00pm

Christ Episcopal Church

PHOTO CREDIT: BIRMINGHAM MUSEUMS TRUST

1918-1939: 19TH CENTURY ECHOES

KORNGOLD: MUCH ADO ABOUT NOTHING: SUITE FOR STRING QUARTET, OP. 11 (COMPOSER’S ADAPTATION)

Erich Wolfgang Korngold (1897-1957) is well known to classic movie buffs as the composer of scores to such adventure films as Captain Blood, The Adventures of Robin Hood, and The Sea Hawk. However, Korngold at one time held an honored position in European opera and concert music that originated in his youth. This Wunderkind composed his first major work, the pantomime ballet Der Schneemann (The Snowman), at the age of 11 and went on to write a series of successful operas, culminating in Die tote Stadt (The Dead City), completed when he was only 23.

The Austrian-born Korngold got involved in Hollywood film scoring in 1934, when Max Reinhardt arranged with Warner Brothers to make a film version of A Midsummer Night’s Dream. Korngold adapted the music of Mendelssohn for this project but then went on to compose a string of 18 original film scores — most of them “swashbucklers.” These melodramatic adventures were not far removed from the Viennese operatic stage from which Korngold had come, and his lateRomantic, Wagner/Strauss style fit them perfectly.

Back in 1919-20, Korngold had composed orchestral incidental music for a stage production of Shakespeare’s Much Ado About Nothing, which was premiered the following year. While composing music for the play, he was also adapting some of it as a suite for orchestra, which he also adapted for violin and piano and for string quartet. Here are the movements:

1. The Maiden in the Bridal Chamber. Through music, we hear the variety of thoughts running through the bride’s mind on the eve of her wedding – some sweet and lyrical, some jumbled and fearful, but ending quietly and at peace.

2. March of the Watch (Dogbert and Verges). Very much in the style of Prokofiev, the music is a comic march, with the pretense of bravery and loyal duty. But frequently, the Watch soldiers trip over themselves or each other.

3. Masquerade (Hornpipe). Comic and energetic comes a sailor’s dance. Both players are kept busy with their parts, which project jollity and a humorous, playful Punch-and-Judy ending to the suite.

KREISLER: STRING QUARTET IN A MINOR

The world knew Fritz Kreisler (1875-1962) first as a virtuoso violinist and then as a composer. He was an incredible child prodigy, entering the Vienna Conservatory

at the age of seven. There he won the gold medal in violin and went on to the Paris Conservatoire, where he graduated at the age of 12 with another gold medal. Soon, for unexplained reasons, Kreisler gave up the violin for a time while he pursued further education and military service. In 1896, he chose a musical career, quickly regained his technique (he never needed to practice much), and embarked on a triumphant career that took him through Europe, England, and the United States. During and after World War I, Kreisler spent time in France and the United States (his wife’s homeland), finally settling there in 1939 and becoming a citizen in 1943. He continued concertizing and broadcasting until 1950. Kreisler’s bowing technique, tone color, and vibrato style influenced almost every concert violinist of the 20th century.

As a composer, Kreisler achieved some notoriety when he revealed that several compositions from his concert repertoire that he had passed off as authentic “olden” works were actually from his own pen. However, he also composed many contemporary pieces for violin and piano that epitomized the colorful recital fare of his day.

Kreisler also dabbled in chamber music. He composed his one string quartet in 1919, dedicating it to his wife. Each of the four movements is titled. The first, Fantasia, is just that: a quilt of different themes and moods in a form that is free except for the ending, which is a literal reprise of the introductory measures.

The second movement, Scherzo, is a playful, puckish piece that owes much to Mendelssohn. The slower, more sentimental, central section, however, is a showcase for individual instruments, as well as a resting point before a reprise of the main section.

Introduction and Romance is the title of the next movement. The wellproportioned introduction makes an emotional contrast with the main torso of the music. Led by the soloistic first violin, this music is at turns cheerful and passionate. Perhaps the high point is the ending, an adventurous progression of harmonies in the upper instruments over some charming pizzicato work by the cello.

Finale: Retrospection completes Kreisler’s quartet. Following a brief introduction, its main thematic group unfolds as a lively, witty march that evokes Brahms’s “barrel house” style. An atmospheric contrasting section (still in march rhythms) lends momentary seriousness before a partial reprise of main themes. Surprisingly, Kreisler concludes with an encapsulation of music from the opening of the quartet, lending a long moment of nostalgia to its soft, sweet ending.

1918-1939: 19TH CENTURY ECHOES

PRICE: STRING QUARTET NO. 2 IN A MINOR

Florence Price (née Smith) (1887-1953) is a significant Black composer of concert music. Among her many other honors, Price was the first African-American woman to have a composition performed by a major orchestra (the Chicago Symphony).

She hailed from near Little Rock, Arkansas, where she graduated high school (as valedictorian) at the age of 14. Moving on to Boston’s New England Conservatory, she studied piano and organ, composing her first symphony and graduating with honors (1906) with a double major in organ and music education. Professor/ Composer George Whitefield Chadwick continued to be a mentor to Price for many years. Returning to Arkansas, Florence taught at the college level, and in 1912, she married attorney Thomas J. Price. Together they had two daughters and a son. To escape racial oppression, the Price family moved to Chicago in 1927. There Florence began a long period of compositional activity. Notably, her Symphony in E minor won a major award and was premiered by the Chicago Symphony Orchestra, Frederick Stock, conducting.

In 1931, the Prices divorced, and Florence soon moved in with her close friend, Margaret Bonds. At that point, Price’s most productive creative period began. In addition to orchestral, chamber, and piano music, she composed widely for the voice, leading to warm, valuable friendships with Black singers Marian Anderson and Roland Hayes. (Anderson would usually end her recitals with a Black spiritual as arranged by Price.) In 1964, Chicago honored Price (posthumously) by naming an elementary school after her.

The musical style of Price’s instrumental concert works is key-oriented, a holdover from the Romantic 19th century. Other 20th-century composers who took this approach included Rachmaninoff, Sibelius, and Richard Strauss. Her frequent key changes and passages of thick, continuous counterpoint are reminiscent of the late-romantic César Franck.

Around a short, repeated musical idea (ostinato) in the second violin, the opening movement unfolds as a lyrical strand of attractive melody. The movement introduces a second theme group more serious-sounding than the first, but it soon comes to a soft conclusion. Ever more lyrical, the third theme group joins the quartet together. Its vocal-inspired melodies now come mostly from the First Violin. Other members of the quartet play brief commentaries, but the First Violin consistently shepherds the ensemble back together. Now come passages where the instruments’ melodies differ and compete, yet regularly they blend together.

A euphonious, forthright statement by the First Violin and Viola reflect aspects of Price’s cultural background in Gospel and folk music. The music now becomes competitive among the performers as they drive to the end of the movement.

Andante cantabile marks the second movement. Beginning in a minor key, it is lyrical in Price’s best way, yet there is an overreaching mood of tragedy and sadness. Phrases are traded or shared among quartet members. A new section of music brings a more confident mood. Soft, comforting music follows, as a fragmentary song pours out, drawing the movement to a quiet conclusion.

A significant dance impulse informs the third movement — yet it is a polite, courteous dance, well measured, crisp, and in a moderate tempo. The music becomes “bluesy” at times, yet it never loses its proud façade. The second section is another story. We might call it “showy.” We hear passing references to past musical phrases, but no solid development —just “swing,” which finally winds down to a polite ending.

Quick triple rhythms open the finale, tripping and skipping along. Momentum is the main idea now, as new ideas come and go. At about the halfway point some brief solo interchanges among the quartet lead us to a short pause and a recapitulation of the tripping-skipping music of the finale’s original music. At last, a brief slower passage introduces the finale’s “finale” and a cheerful, energetic ending to Price’s String Quartet in A Minor.

Notes by Dr. Michael Fink 2023

1918-1939: BREAKING AWAY

The second of two concerts centered on the musically rich period between the World Wars features music that forges new paths in all directions by Leoš Janáček, Germaine Tailleferre, and Ernest Bloch.

Laura Scalzo & Matthew Zerweck, violins

Emily Freudigman, viola

Ken Freudigman, cello

Viktor Valkov, piano

PROGRAM

Leoš Janáček

Con moto - Andante (1854-1928)

Con moto - Adagio

Allegro

String Quartet

Germaine Tailleferre Modéré (1892-1983)

Interméde

Final: Vif

— INTERMISSION —

Piano Quintet No. 1, B.43

Ernest Bloch

Agitato (1880-1959)

Andante mistico

Allegro energico

SEPTEMBER 29, 2023

Friday at 4:00pm Kerrville First Presbyterian Church

OCTOBER 1, 2023

Sunday at 2:00pm Christ Episcopal Church

Pohádka

PHOTO CREDIT: JONATHAN PEASE

JANÁČEK: PODHÁDKA (“FAIRY TALE”)

In 1910, both Igor Stravinsky and Leoš Janáček (1854-1928) made musical settings of Russian folk tales. Stravinsky’s famous Firebird ballet for full orchestra was quite literal and became world famous. Janáček’s Fairy Tale, a more general setting for cello and piano, went relatively unnoticed. This statement is not to take away from the mastery and charm of Janáček’s music, but rather to contrast two opposing approaches to similar material. The full title of Janáček’s work was originally “The Tale of Czar Berendey.” When the composer revised the work in 1923, he shortened the title simply to Fairy Tale.

Briefly, the story goes that Czar Berendey is duped into ransoming the soul of his son, Ivan, to Kashchey, Ruler of the Underworld. When Ivan is old enough, his father tells him of his terrible fate, whereupon Ivan sets out, determined to free himself of the curse. Early in his odyssey, he sees a duckling turned into a beautiful maiden, and they instantly fall in love. She turns out to be Marya, the good daughter of Kashchey. In later episodes, Ivan (with Marya’s help) successfully accomplishes two tasks set for him by Kashchey, but Marya is changed into a flower. Ultimately, the couple are rejoined in a happy ending.

In the Fairy Tale, the cello part represents Ivan while the piano speaks for Marya. These symbols are immediately apparent in the first movement, as a fanfare-like cello pizzicato punctuates the gently curving main theme. A canon (imitation) between the instruments perhaps symbolizes the betrothal of the couple. Soon, however, this tender stroking turns into a gallop, possibly signifying Kashchey’s pursuit of the lovers.

Another piano-cello canonic dialogue opens the second movement, but this spiky theme is answered by a more lyrical variant. The fanfare motive from the first movement returns along with other music heard previously.

The most “Russian” sounding part of the Fairy Tale is the main theme of the final movement. One striking feature that occurs in every movement is a sort of “dissolution” at the end, rather than a solid recapitulation and conclusion. As biographer Jaroslav Vogel points out, this “. . . heightens the fairy-tale atmosphere, and the charm is enhanced by Janacek’s ability to enter completely into the spirit of the old Russian epic tales.”

TAILLEFERRE: STRING QUARTET

In 1917, World World War I was still raging throughout Europe, A group of six composers gathered frequently in Paris to discuss progressive aesthetic theory and practice. Included were Louis Durey, Arthur Honegger, Darius Milhaud, Georges Auric, Francis Poulenc, and Germaine Talleferre.

The progressive-minded Tailleferre (1892-1983) was the only female member of Les Six, and her rebellious nature preceded her there. Born with the family name of Taillefesse, she changed it to Tailleferre to spite her father, who refused to support her musical studies. She took piano lessons with her mother, and began to compose short original pieces. These led to her studies at the Paris Conservatoire, where she met the young composers who, with her, would soon constitute Les Six. Her early relationship with them soon led to her association with the artistic crowds in the districts of Montmartre and Montparnasse. There the idea of Les Six was born, unified by their faith in writer Jean Cocteau’s published ideas.

During the 1920s, Tailleferre wrote many of her most important compositions, and she remained reasonably prolific throughout her long life. In addition to the concert hall, she composed several film scores, music for the radio and television, and incidental music for the theater. Her music for piano solo and concertos was especially profuse.

Talleferre composed her only string quartet during 1917-1919 at the height of her involvement with Les Six. She was a student of Milhaud at the time. The conciseness of each movement suggests that the work may have originated as a composition assignment or a competition entry.

The quartet opens with a movement marked Modéré. A short theme is passed around between instruments. Then another, led by the Second Violin receives similar treatment. Led by the First Violin a cascading idea now becomes the focus, and this leads to a short coda (or, wrapping up) of the first movement.

Marked Interméde, the second movement opens in a playful, puckish mood. By contrast, the central section is smooth and closely concentrated on two or three short musical ideas. A variant recap of the first section rounds out the intermediate movement.

A somewhat ferocious mood, marked Très ritmé greets us at the opening of the finale. Then, sudden quietness prevails while the players explore the lower regions of their instruments. This congeals into a surprising solo by the first violin. Shifting

into a tremulous pattern, the opening music returns, now transformed in mood and texture. A brief transition leads to a recapitulation of the opening material, which soon dissolves into freer expression and a new section of the movement. Then, taking on a veneer of heroism (Un peu plus lent), the music slips slowly into a hushed ending.

BLOCH: PIANO QUINTET NO. 1

Ernest Bloch (1880-1959) was a composer of Swiss origin. His studies and early musical career centered in his native city, Geneva. In 1916, he traveled to the United States as the conductor of a Swiss dance company. When the company suddenly went bankrupt, Bloch was stranded without friends or financial resources. Within a short time, however, he had begun a new career here, at first teaching at the Mannes School of Music, then becoming Director of the Cleveland Institute and later the San Francisco Conservatory.

Most of the music Bloch composed during the 1920s could be termed “neoclassic” That is, music written in Classical Period forms, or music adhering to formal principles (such as balance and proportion) found in Classical Period composers, notably, Haydn, Mozart, and Beethoven. At the same time, Bloch’s own musical style became intensely personal, and consistently so. He completed his Piano Quintet No. 1 in 1923.

Tension and drama inform the opening minutes of Bloch’s quintet. In part, this can be attributed to the contrast between the piano’s music and the music for strings. The piano then begins a new “bed” of sound for individual and pairs of strings to etch brief musical statements. This whole passage is a transition to a new theme group, again contrasting piano and strings. Melodies and accompaniments are freely exchanged between strings and piano. These textures are somewhat simplified as the music reaches the epitome of its development. The music becomes declamatory again (as in the opening music), finally tumbling to the conclusion of the movement.

Marked Andante mistico, the central movement begins with the piano offering low-pitched support for sustained fragments of melody exchanged among the strings. This texture now dominates for a substantial period of time until the lower registers of the piano join in the melodic interchange. Strings soon dominate again, offering attractive melodies and duets above the rumbling piano. The whole quintet gradually become more rhapsodic leading to a new section marked misterioso. Former melody fragments return, now supported by steadily rocking rhythms in the piano. Gradually, all the players gel into a rocking rhythm until

a climactic moment, when the ensemble gradually re-assembles in an intense quasi-pastoral setting. Again winding down, the music arrives at a restatement of earlier, quieter music. This gradually recedes to a sustained, soft finish.

Allegro energetico reads the tempo marking for the finale. The dance impulse is undeniable, yet the “dancers” seem to stumble often. All this makes for an entertaining movement full of surprises. Mostly unpredictable, the music draws the listener close, waiting for the next surprise. Occasional long-breathed string melodies are stretched across a percussive texture, but they never reach a stable conclusion. Viola and cello struggle to create a melody with some continuity, and soon the other strings join them. Finally, we hear galloping rhythms accompanying the fragmented melody, now shared with the piano. A great variety of rhythms inform the next pages of this movement, ushering in reminiscences of slower, earlier ideas and melodies. A sizeable and even slower, long-breathed melody leads to a quiet, high-pitched ending to the Quintet. conclusion.

Notes by Dr. Michael Fink

2023

THE MUSICIANS

EMILY FREUDIGMAN, VIOLA

Emily Freudigman is Co-Founder of Camerata San Antonio. Emily holds degrees in viola performance from Southern Methodist University, the Peabody Conservatory, and the University of Michigan and has been a Fellow at the Tanglewood Music Center and the Aspen Music Festival and School. She has studied chamber music with members of the Juilliard, Muir, Concord and Tokyo String Quartets, and she has performed with the Grand Rapids, Maryland, Fort Worth and Boston Symphony Orchestras. Emily was the Assistant Principal Viola of the San Antonio Symphony from 2002 to 2019. She maintains an active viola studio in San Antonio – her students perform in the Texas All-State orchestras, attend prestigious summer music camps, including the Eastern and Killington Music Festivals and Interlochen Center for the Arts and have gone on to study at the Cleveland Institute of Music and Peabody Conservatory of Music.

MUSICIANS

KENNETH FREUDIGMAN, CELLO

Kenneth Freudigman is Co-Founder and Artistic Director of Camerata San Antonio. Ken was Principal Cello of the San Antonio Symphony from 2004 to 2022 and continues in the role with the new San Antonio Philharmonic. A highlyrespected cello pedagogue, Ken also serves as Conductor of YOSA’s Symphony and Concertino Orchestras.

Mr. Freudigman began playing the violin at age six and found his true love, the cello, at the age of nine. After six years of study, he was accepted to attend the prestigious Interlochen Center for the Arts. Upon graduating with honors in music performance, he went on to receive a Bachelor of Music from the Eastman School of Music. He began his orchestral and chamber music career while at Eastman, winning a position with the Rochester Philharmonic and was also a founding member of the Esterhazy Chamber Ensemble. In 1992, Mr. Freudigman joined the New World Symphony, an advanced training orchestra for recent graduates of music schools, under the direction of Michael Tilson Thomas. He has also performed with the Atlanta, Utah, Grand Rapids, Charleston, and Virginia Symphony Orchestras, as well as the Sarasota Opera and the Mexico City Philharmonic. Mr. Freudigman was also a founding member of the American Sinfonietta.

His orchestra and chamber music engagements have taken him to the major concert halls of Europe, the Middle East, and throughout South and North America. Mr. Freudigman has performed chamber music with members of the Amadeus and Cleveland Quartets and with the pianist Jean-Yves Thibaudet. He has been a featured soloist with the World Youth and New World Symphony Orchestras, the San Antonio Symphony and the Mexico City Philharmonic, where he was engaged to perform Shostakovich’s First Cello Concerto. Mr. Freudigman can be heard in recordings on the Argo and Summit record labels, featured with Renee Fleming and the New World Symphony Orchestra performing Bachianas Brasileiras by Heitor Villa-Lobos on BMG Classics, and on Camerata San Antonio’s Grammy-nominated premiere CD, Salon Buenos Aires: Music of Miguel Del Aguila.

LAURA SCALZO, VIOLIN

Originally from Long Island, New York, Laura Scalzo’s love of the violin was sparked by the great violinist, Itzhak Perlman, when she heard him play on “Sesame Street.” She began lessons at the age of 4 and has been playing ever since. She holds degrees from Temple University (BA) and the University of Delaware (MM). Her primary teachers have included William dePasquale, Xiang Gao, and Ellen dePasquale.

Ms. Scalzo joined the first violin section of the San Antonio Symphony in 2011. Ms. Scalzo is also the Assistant Concertmaster of the Mid-Texas Symphony. Before moving to San Antonio, she was a tenured member of the Delaware and Allentown Symphonies. As a passionate chamber music lover, Ms. Scalzo has performed with various ensembles in San Antonio, New York, Pennsylvania, and Delaware. She is currently a member of the Mid-Texas Chamber Players.

In addition to performing, Ms. Scalzo is an enthusiastic teacher and has maintained a private studio of all levels since 2000. At the University of Delaware, she was Xiang Gao’s teaching assistant and taught the undergraduate non-music majors. She was a professor of violin at Texas Lutheran University from 2013-2015.

Ms. Scalzo has many interests outside of music. In 2020 she launched a blog, www.rootsinthecitytx.com, where she shares her adventures in vegetable and native plant gardening. She is an avid animal lover and amateur chef. She can often be found at home in the kitchen cooking for family and friends, or when not working, attempting to entertain the cats.

VIKTOR VALKOV, PIANO

Winner of the 2012 New Orleans International Piano Competition, Viktor Valkov has been hailed as a “lion of the keyboard” and “sensational” (Wiesbadener Kurier). A winner of Astral’s 2015 National Auditions, he recently gave a critically acclaimed recital in London’s Wigmore Hall, and appeared as soloist with the Louisiana Philharmonic Orchestra, Baton Rouge Symphony Orchestra, West Virginia Symphony Orchestra, and the Acadiana Symphony Orchestra.

Mr. Valkov has appeared frequently as a recitalist in the U.S., China, Japan, England, Norway, Germany, Italy, Greece, Bulgaria, and Macedonia.He debuted with the Sofia Philharmonic Orchestra, and performed Dimitar Nenov’s Grande Piano Concerto with New Symphony Orchestra under Rossen Milanov, becoming the fifth pianist to perform the concerto, and the only one to do so in its entirety. Mr. Valkov has made a number of recordings for the Bulgarian National Radio archive and has recorded for Bulgarian National Television and Macedonian Radio and Television.

Mr. Valkov’s concerts reflect a vast interest in chamber music as well as lesserknown piano repertoire. He frequently performs with Bulgarian cellist Lachezar Kostov. Both deeply interested in broadening the repertoire for cello/piano duo, they often include such composers as Kabalevsky, Roslavetz, Schnittke, and Saint-Saëns in their programs. In 2009, the Kostov-Valkov Duo gave its Carnegie Hall debut in Zankel Hall, and in 2011 won the Liszt-Garisson International Competition, where they were also awarded the Liszt Prize and special prizes in the collaborative artists category.

As a soloist, some of Mr. Valkov’s recent projects include Beethoven’s Hammerklavier sonata and Busoni’s Fantasia Contrappuntistica. He has presented a program highlighting composers of the 1600’s, including Froberger, Couperin, Frescobaldi, and Buxtehude, and selections from The Fitzwilliam Virginal Book. His first solo CD was a Naxos release of the complete piano music of Dimitar Nenov. Viktor Valkov is an Assistant Professor of Piano at the University of Utah.

MATTHEW ZERWECK, VIOLIN

Matthew Zerweck (matthewzerweck.com) began his music studies at age 5, after watching Itzhak Perlman perform on the children’s television show, “Sesame Street.” After studying with several esteemed artist teachers, he entered the Eastman School of Music. He earned degrees from the Eastman School of Music (BM, MM), where he served as teaching assistant to the world renowned violinist and teacher, Charles Castleman.

Formerly the Assistant Concertmaster of the San Antonio Symphony (20082012), Matthew teaches violin full time in San Antonio. His students have played as soloists with the San Antonio Symphony, San Antonio Sinfonietta, and Starlight Symphony Orchestra. His students occasionally pursue music degrees at competitive colleges and conservatories.

An active performer, Matthew leads the San Antonio Sinfonietta as concertmaster and soloist. He’s also performed major concertos with the UIW Orchestra and Youth Orchestras of San Antonio. In 2015, he recorded the lead violin parts for “Upon the Awful Tree,” an independent film with an original score by Matt Dunne. In his free time, Matthew enjoys spending time with his wife, Nancy, his son, Charlie, and four cats.

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Season 29 Key Moments 2023–2024

Oct 23. 2023

Quartet for the End of Time

w/ Ani & Marta Aznavoorian cello & piano

Cahuzac • Ravel Messiaen

Season Concerts

MONDAYS @ 7:30 pm

Mar 4. 2024

Celebrating March 8th, Internat’l Women’s Day

w/ Janice Carissa piano

Bonis • Tailleferre

Boulanger • Schumann Price

info & tickets : olmosensemble.com

location : Shepherd King Lutheran Church

303 W. Ramsey Rd, San Antonio

Jan 22. 2024

German Music of the Last Three Centuries

w/ John Novacek piano

Schroeder • Brahms

Mozart • Jenner

May 6. 2024

Season Finale

Olmos Ensemble and Jon Nakamatsu

w/ Jon Nakamatsu piano

Haydn • Brahms

Beethoven • Blumer

Oct 5

Celebrate 100 years of passion and pomp!

Brahms–Elgar–Lalo–Grantham World Premiere for Schreiner Centennial

Dec 7

Musical moods of the holiday season! Strauss–Tchaikovsky–Sing-Along Carols

Jan 6 Scenes, scents, and sounds of a night at the movies!

Mancine–Elfman–Williams–Movie Hits!

Feb 29

Leap forward in musical jubilation! Verdi–Schumann–V. Williams–Spirituals

Apr 25

A celebration of musical fellowship! Elgar–Pachelbel–Tchaikovsky

“World Class Symphonic Music for the Texas Hill Country”

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2023-2024 BOARD

JENNIFER GARCIA-HETTINGER PRESIDENT

KAY LORRAINE JOHNSON VICE PRESIDENT

JULIE

KENFIELD TREASURER

LISA FUENTES SECRETARY

JENNY FISH

SARA HAMILTON

CONCERT VENUES

FRIDAYS

KERRVILLE FIRST PRESBYTERIAN CHURCH

800 Jefferson St

Kerrville, TX 78028

SATURDAYS

EPISCOPAL CHURCH OF THE HOLY SPIRIT

11093 Bandera Rd

San Antonio, TX 78250

SUNDAYS

CHRIST EPISCOPAL CHURCH

510 Belknap Pl

San Antonio, TX 78212

2023-2024 DONORS

CAMERATA CIRCLE

Dr. & Mrs. Thomas R. Hamilton

Sponsors of violinist Matthew Zerweck

CHAMBER CIRCLE

Didi & Alan Weinblatt

Sponsors of pianist Viktor Valkov

PATRONS CIRCLE

Dr. Donald K. Burda

Mary Anne & Tony Crosby

Barbara C. Kyse

San Antonio Symphony League

Janna Spurlock

BENEFACTORS CIRCLE

Allegra Marketing Print Mail

Colleen & George Brin

Liz Davenport

Kay Lorraine Johnson & Scott Baird

Joe & Toni Murgo

Mary Ellen & Tim Summerlin

ADVOCATES CIRCLE

Frederica & Martin Kushner

To donate, please visit our website or send a check payable to Camerata San Antonio to: 11618 Raindrop Dr, San Antonio TX 78216

SUBSCRIBERS CIRCLE

Helga Anderson

Charles Bender

COL Frank Bertagnolli, (Ret)

Diane Burchers

Alan Cutler

Mike Davis

In honor of Toni Murgo

Freda Flax

Delicia Herrera

Junell Holmer

Eunsu Lee

Hannah Margolis

Mimi McMillen

Lynne Noriskin

Kathy & Robert Rothen

Connie & Bruce Story

Carol Talpey

Dr. Ana M. Valadez

FRIENDS CIRCLE

ANONYMOUS (2)

Laurel Donoho

Carol Duganne

Marilyn Respondek

Mo & Brigitte Saidi

Cynthia J. Schwarz

Ann Springer

John Thompson

Morgan Williams

John Woodworgh

Due to our printing schedule, gifts received after Aug 16, 2023, will be recognized in Jan/Feb programs. Up-to-date donor listings may be found online at www.cameratasa.org/support.

Donations to Camerata San Antonio are tax deductible to the extent allowed by law. Federal Tax ID #56-2382185

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Participate in this year’s celebration of generosity on November 28, 2023

Camerata San Antonio has been performing thoughtfully curated and impeccably prepared chamber music in San Antonio and Kerrville since 2003, providing an emotional journey that only music can.

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SPECIAL THANKS

The Camerata Compadres

Our Wonderful Volunteer Corps

BlackStone Studio

Barbara Holland

Bob Catlin

Christ Episcopal Church

The Rev. Dr. Patrick Gahan

RECTOR

Josh Benninger

DIRECTOR OF MUSIC

Jennifer Holloway

ASSISTANT DIRECTOR OF MUSIC

CEC Friends of Music

Episcopal Church of the Holy Spirit

Rev. Jason T. Roberts

RECTOR

Amanda LaHue

CHURCH ADMINISTRATOR

Gary Mabry

MUSIC MINISTER

Kerrville First Presbyterian Church

Rev. Jasiel Hernandez Garcia

SENIOR PASTOR

Seth Lafler

DIRECTOR OF CHORAL MUSIC

Sabrina Adrian ORGANIST

Worship Committee

Murgophonic

Jason Murgo

Traveling Blender

Sandy Weatherford

Texas Public Radio KPAC/KSTX

Barry Brake

Nathan Cone

Primocello Ceramics

Cellist By Day, Potter By Night

Camerata San Antonio Artistic Director Kenneth Freudigman found clay in February of 2019 and has become obsessed with forms and glazes! When he’s not performing, teaching, conducting, biking, or running, you can find him making a mess in his ceramics studio!!

• WEBSITE: PrimocelloCeramics com

• INSTAGRAM: @primocello_ceramics

• FACEBOOK: www.facebook.com/PrimocelloCeramics

Trailblazing life-changing therapies and treatments.

As the largest academic research institution in South Texas, we use the power of discovery, innovation and passion to transform the health of our community.

See how we translate what we learn in our labs into hope for those we serve at EverythingItTakes.org.