Camerata San Antonio presents chamber music of the highest caliber to our many and diverse classical musicloving audiences. We are equally committed to providing educational experiences for San Antonio’s students.
WELCOME
TO OUR 22ND SEASON!
For centuries, string music has been a cornerstone of chamber music. Since our debut in 2003, Camerata has showcased over 500 works of chamber music, with a focus on the compelling combinations of strings and piano. We’re also fortunate to draw on occasion from the talented wind players of the San Antonio Symphony/ Philharmonic, enhancing our rich chamber music repertoire.
Over the past two decades, Camerata has enjoyed a stable roster of musicians, allowing us to delve deeply into string quartet literature. We have explored no fewer than 128 string quartets, with Beethoven’s standing at the pinnacle. His String Quartet No. 8, Op. 59 No. 2, will be our ninth foray into his monumental set of 16 quartets. One of our goals for future seasons is not only to introduce lesserknown works to our audience but also to complete our own Beethoven cycle.
A key aspect of our programming is to highlight underperformed, unheard, or neglected works from diverse sources. For those familiar with Camerata, you’ll recognize that each season includes pieces that fit this description. They all share one essential quality: they must be compelling music! Recently, our focus has increasingly shifted to spotlighting composers of color and women, many of whom have been unjustly overlooked. This season, we are excited to present six lesserknown or underplayed works alongside established repertoire, creating a vibrant and engaging musical experience that we believe you will thoroughly enjoy.
KEN FREUDIGMAN ARTISTIC DIRECTOR
The Camerata Recital
Ballade, Op. 73 (1907) S . Coleridge-Taylor (1875-1912)
Sonata for Violin and Piano L .v . Beethoven in C Minor, Op. 30 No. 2 (1803) (1770-1827)
Allegro con brio
Adagio cantabile
Scherzo: Allegro
Finale: Allegro; Presto
15 MINUTE INTERMISSION
Rhapsody No. 1 (1928)
B . Bartók
Lassú (Slow) (1881-1945)
Friss (Lively)
Sonata for Violin and Piano, S . Prokofiev No. 2, Op. 94a (1943) (1891-1953)
Moderato
Scherzo: Presto
Andante
Allegro con brio
MUSICIANS
Laura Scalzo, violin
Viktor Valkov, piano
CONCERT DATE
February 16, 2025*
Sunday at 2:00pm
Christ Episcopal Church
The Camerata Recital PROGRAM NOTES
SAMUEL COLERIDGE-TAYLOR (1875–1912)
Ballade in C Minor for Violin and Piano, Op. 73 (1907)
Samuel Coleridge-Taylor, born to a father from Sierra Leone and an English mother, emerged as one of Britain’s most celebrated composers during the late 19th and early 20th centuries. Despite the challenges of his time, including societal prejudices and financial struggles, Coleridge-Taylor’s talent and determination allowed him to achieve remarkable success. His father, a physician, returned to Sierra Leone before Samuel’s birth, leaving him to be raised by his mother in a working-class household. Supportive of his musical abilities, his family nurtured his talents, and Samuel went on to study at the Royal College of Music, first as a violinist and later as a composer under Sir Charles Villiers Stanford.
Coleridge-Taylor gained widespread acclaim with Hiawatha’s Wedding Feast (1898), based on Henry Wadsworth Longfellow’s The Song of Hiawatha. The work’s immediate success earned praise from luminaries like Sir Arthur Sullivan and Sir Hubert Parry. However, he sold the rights to the piece for a modest sum, leaving him unable to benefit from its enduring popularity. This financial injustice contributed to growing advocacy for composers’ rights in the early 20th century.
Composed in 1907, Coleridge-Taylor’s Ballade in C Minor, Op. 73, was dedicated to the Russian-born violinist Michael Zacherewitsch, who frequently performed in England and later became a British citizen. The work opens with a somber theme introduced in the violin’s low register, evoking an air of introspection and melancholy. While some have noted a “Slavic mood” in the Ballade, perhaps inspired by its dedicatee, the piece does not exhibit a distinctly Russian character. Instead, its lyrical and rhapsodic qualities reflect Coleridge-Taylor’s individual voice while bearing subtle stylistic parallels to the works of Tchaikovsky.
The Ballade’s structure is free and improvisatory, centered around a recurring motto theme that undergoes various rhythmic and tempo transformations throughout the piece. Coleridge-Taylor’s melodic writing is elegant and natural, supported by harmonies that, while not overly chromatic, beautifully complement the lyrical lines. The interplay between violin and piano is idiomatic and fluid, creating a sense of freshness and spontaneity that enhances the work’s charm.
Though less frequently performed today, the Ballade in C Minor shows ColeridgeTaylor’s mastery of melody, texture, and instrumental writing. It stands as a poignant
example of his ability to craft music that is both technically refined and emotionally engaging, offering audiences a glimpse into the unique artistry of this remarkable composer. For more biographical information about this remarkable composer, scan the QR code with the camera on your phone.
Camerata performed Coleridge-Taylor’s Fantasiestücke for String Quartet, Op. 5 (2021).
LUDWIG VAN BEETHOVEN (1770–1827)
Sonata for Violin and Piano in C Minor, Op. 30, No. 2 (1803)
The key of C minor holds a special significance in Beethoven’s oeuvre, often serving as the backdrop for some of his most tempestuous and dramatic creations. Works such as the Pathétique Sonata for piano, the Symphony No. 5, the String Quartet No. 4 (Op. 18), and the Piano Concerto No. 3 all demonstrate Beethoven’s ability to channel intense emotion through this key. The Violin Sonata in C Minor, Op. 30, No. 2 is no exception, standing as a towering work of stormy passion and grandeur. Written in 1802 as part of a set of three violin sonatas (Op. 30), this sonata forms a striking contrast to its more genial counterparts, revealing Beethoven’s bold and symphonic vision.
The sonata opens in mystery, with a shadowy, almost brooding theme whispered by the violin and piano. These ominous beginnings soon give way to explosive chords that launch the movement into dramatic heights. A second theme, in a brighter key, offers a march-like sense of relief, but the storm is far from over. Beethoven crafts a restless energy with rapid passages and soaring dynamics, building to climaxes that are as thrilling as they are unrelenting. A third, dreamlike theme briefly emerges, its serenity tinged with underlying tension. These contrasting motifs are masterfully woven together into a movement of symphonic proportions, filled with drama and intensity.
The second movement shifts to the warmer key, offering a moment of lyrical beauty and calm. The violin and piano exchange a tender, songlike melody, creating an atmosphere of transcendent peace. Yet even here, Beethoven cannot entirely escape the pull of C minor’s turbulence. Near the movement’s conclusion, sudden outbursts disrupt the tranquility, with the violin and piano playing dramatic, ascending scales in C major—a subtle reminder of the storm that looms on the horizon.
The scherzo is a striking contrast, characterized by a playful, almost mischievous spirit. Cast in C major, it features offbeat accents and witty phrasing that evoke a sense of humor, though with an edge of unpredictability. The trio section offers a more subdued and lyrical interlude, but the scherzo’s lively energy soon returns, keeping the listener on their toes.
The final movement plunges back into the tumultuous world of C minor with uncompromising power. The relentless main theme drives forward with an unyielding, almost fateful quality. Beethoven’s mastery of contrast is on full display as moments of fleeting lyricism are swept away by the movement’s inexorable momentum. Unlike Beethoven’s Symphony No. 5, which ultimately resolves its C minor struggles in a triumphant blaze of C major, this sonata remains firmly rooted in its tragic key. The conclusion is grim and resolute, offering no solace but leaving an indelible impression of strength and determination. This sonata, with its sweeping contrasts and dramatic power, exemplifies Beethoven’s ability to push the boundaries of the classical sonata form. It is a profound exploration of struggle and intensity, capturing the essence of Beethoven’s creative genius in one of his most iconic keys.
Camerata has performed many other Beethoven sonatas including Violin sonatas Op. 12 No.1 (2018), Op. 12 No. 2 (2019), Op. 24 (2019), Op. 30 No. 1 (2023), Op. 47 (2019), cello sonatas Op. 5 No.1 (2003, 2012), Op. 5 No.2 (2004, 2012), Op. 69 (2005, 2012), Op. 102 No. 1 (2006, 2012), Op 102 No.2 (2007, 2012), piano sonatas Op. 27. No 2 (2004), Op. 79 (2016), and Op 106 (2017). In total, Camerata has performed 37 works of Beethoven.
BÉLA BARTÓK (1881–1945)
Rhapsody No. 1 for Violin and Piano (1928)
Composed in 1928 and later arranged for violin and orchestra, as well as cello and piano, Béla Bartók’s Rhapsody No. 1 is the first of two dazzling virtuoso works for violin and piano. Dedicated to Hungarian violinist Joseph Szigeti, a close friend and collaborator of Bartók, the orchestral version of this rhapsody premiered on November 1, 1929, with Szigeti as soloist. The work is infused with the vibrant spirit of Hungarian folk music and reflects Bartók’s deep affection for his cultural roots.
Bartók composed both Rhapsodies (No. 1 and No. 2) not as commissions but as personal gifts for two esteemed violinists in his circle. According to violinist Zoltán Székely, Bartók completed the works in secret and presented them unexpectedly during a meeting in 1928. “One is for you; one is for Szigeti,” Bartók told Székely, allowing him to choose which rhapsody would bear his name. Székely chose the Second Rhapsody, but noted with humor, “That doesn’t mean the First Rhapsody was already dedicated to Szigeti!” This moment underscores Bartók’s warm relationships with both musicians, as well as his generosity as a composer.
The Rhapsody reflects Bartók’s compositional method of integrating Hungarian peasant music with original material. In his own words, this approach involved taking existing folk melodies and adding newly composed introductions, endings, or accompaniment that never overshadow the prominence of the folk source. Early
editions of the Rhapsody had the subtitle “Folk Dances,” acknowledging its roots in traditional music. The work is structured in two contrasting sections based on the lassú–friss (slow–fast) pairing of the verbunkos (recruiting dance), a form Bartók explored as early as his Rhapsody for Piano (1904) and would later revisit in works such as Contrasts (1938).
The opening slow movement is serious and introspective, featuring richly ornamented folk-inspired themes. The violin unfolds expressive melodies with a sense of freedom, as though echoing an ancient, unhurried dance. The piano provides a sensitive accompaniment, highlighting the modal harmonies and poignant beauty of the material. Bartók specified that this movement, like the fast second movement, can stand alone in performance—a testament to its individual depth and character.
The lively and virtuosic second movement shifts the mood dramatically, bursting with energy and rhythm. Drawing on the fiery spirit of Hungarian dance, the friss features rapid passages, syncopated rhythms, and brilliant interplay between the violin and piano. The movement’s exuberance and technical demands showcase the violinist’s skill, offering an electrifying contrast to the contemplative opening.
Bartók’s Rhapsody No. 1 is not only a celebration of Hungarian folk traditions but also a reflection of the composer’s artistry in transforming these traditions into compelling concert works. By blending folk melodies with his modern harmonic language, Bartók created a piece that is both accessible and sophisticated, appealing to audiences and performers alike. The Rhapsody remains a cornerstone of the violin repertoire, embodying the vibrancy of Bartók’s Hungarian heritage.
(On a personal note, I had the distinct honor to be invited to work with Zoltán Székely at the Banff Center for Music with my quartet in 1984 and I treasure that memory to this day!)
Camerata has also performed the 44 duos for 2 violins (2003), Sonatine (2010), Out of Doors (2018), and Contrasts (2022).
SERGEI PROKOFIEV (1891–1953)
Violin Sonata No. 2 in D Major, Op. 94a (1943)
Sergei Prokofiev’s Violin Sonata No. 2 in D major, Op. 94a, is a remarkable example of the composer’s ability to balance lyricism and virtuosity. Originally composed in 1943 as a flute sonata (Op. 94), Prokofiev adapted it for violin the following year at the suggestion of the legendary violinist David Oistrakh. The violin transcription not only expands the expressive possibilities of the work but also highlights Prokofiev’s brilliance in accommodating the idiomatic qualities of both instruments.
The sonata emerged during a tumultuous time in Prokofiev’s life and history, as the composer, along with many of his colleagues, had been evacuated to the relative safety of the Soviet Union’s eastern regions during World War II. Despite these dark circumstances, the work is predominantly lighthearted and imbued with a sense of optimism—a testament to Prokofiev’s gift for creating art that uplifts the human spirit even amidst adversity.
The four-movement structure reflects the classical clarity often found in Prokofiev’s works, with a wealth of memorable themes and contrasting moods. The first movement is a lyrical and flowing introduction, with a serene and song-like opening theme that immediately captures the listener’s attention. A second theme adds contrast with a more rhythmically energetic character. The movement’s development explores these ideas with rich harmonic textures and inventive interplay between the violin and piano.
The second movement is a quintessential example of Prokofiev’s wit and playfulness. The rapid and syncopated violin lines, coupled with quirky harmonic twists, give the scherzo an impish quality. The central trio section contrasts with a more flowing, lyrical theme before the opening material returns with renewed energy.
The slow movement showcases Prokofiev’s gift for lyrical expression. The violin sings a tender and heartfelt melody over a delicately supportive piano accompaniment. The introspective atmosphere provides a moment of emotional depth, standing in stark contrast to the energy of the preceding movements.
The sonata concludes with a vigorous and sparkling finale. Prokofiev combines brilliant virtuosic passages with folk-inspired melodies, a hallmark of his style. The movement’s lively energy and triumphant conclusion leave the audience with a sense of joy and exhilaration.
Though conceived as a chamber work, the Violin Sonata No. 2 reveals Prokofiev’s symphonic instincts through its richly layered textures and dramatic contrasts. The piece remains a favorite among violinists and audiences alike, blending Prokofiev’s characteristic modernity with an unmistakable nod to classical tradition. Through its blend of charm, virtuosity, and emotional resonance, the sonata continues to hold a cherished place in the violin repertoire.
Camerata has also performed Sonata for Clarinet Op. 84 (2008), Selections from Romeo and Juliet for Viola (2013), String Quartet No. 1, Op. 50 (2017), Cello Sonata, Op. 119 (2018), and Piano Sonata No. 8 Op. 84 (2019).
Notes by Ken Freudigman 2025
“World Class Symphonic Music for the Texas Hill Country”
Glory Hallelujah–Dec 5
Bringing together in music the wonderful exclamation of the words “gloria!” and “hallelujah!”
Beethoven–Rutter–Guaraldi–Anderson–Sing-Along Carols
BOOM!–Feb 27
Inspired by the symphonic world’s desire for music that is bigger and more dramatic!
Beethoven–Bach–Mahler–Tchaikovsky
Bolero–Oct 10
Thrilling music by the world’s greatest composers of Spanish music! Villa Lobos–Rodrigo–RimskyKorsakov–Ravel
POPS–Jan 4
Devoted to the great music written about life’s greatest journeys! Handel–Gilbert & Sullivan–Horner–Back To The Future–Star Trek
Romantic Resonances
Barcarolle (1909) C . Saint-Saëns (1835-1921)
String Quartet in F . Mendelssohn-Hensel
E-flat Major (1834) (1805-1847)
Adagio ma non troppo
Allegretto
Romanze
Allegro molto vivace
15 MINUTE INTERMISSION
Piano Quintet in E-flat Minor, E .v . Dohnányi Op. 26 (1914) (1877-1960)
Allegro non troppo
Allegretto
Moderato
MUSICIANS
Laura Scalzo, violin
Matthew Zerweck, violin
Emily Freudigman, viola
Ken Freudigman, cello
Viktor Valkov, piano
CONCERT DATES
April 25, 2025
Friday at 4:00pm
Kerrville First
Presbyterian Church
April 26, 2025*
Saturday at 3:00pm
Episcopal Church of the Holy Spirit (NW SA)
April 27, 2025*
Sunday at 2:00pm
Christ Episcopal Church
Romantic Resonances PROGRAM NOTES
CAMILLE SAINT-SAËNS (1835–1921)
Barcarolle in F Major, Op. 108 (1909)
Camille Saint-Saëns, a towering figure of French Romanticism, composed his Barcarolle in F Major, Op. 108 in 1898, at the height of his creative powers. The piece, originally scored for piano, violin, cello, and harmonium (or organ), showcases Saint-Saëns’s elegant craftsmanship and his gift for creating music of charm and refinement. It is one of several works in which the composer evoked the barcarolle—a traditional Venetian gondolier’s song characterized by its lilting 6/8 meter and flowing, water-like quality.
The Barcarolle opens with a gentle, undulating theme that mimics the rhythm of oars gliding through tranquil water. The interplay between the instruments evokes a serene, dreamlike scene, with Saint-Saëns weaving a rich tapestry of sound. The violin and cello trade lyrical phrases, while the piano provides a shimmering harmonic foundation. The music unfolds with a graceful fluidity, capturing the romantic spirit of the genre. As the piece progresses, Saint-Saëns introduces more dramatic and virtuosic passages, subtly heightening the tension before returning to the calm and wistful atmosphere of the opening. This seamless blend of lyricism and brilliance is a hallmark of Saint-Saëns’s style, reflecting his ability to balance technical sophistication with emotional warmth.
The Barcarolle is a fine example of Saint-Saëns’s deep understanding of chamber music and his ability to write with clarity and elegance. Its charm lies in its delicate shifts of mood and its evocative ability to transport the listener to a serene, sunlit Venetian canal. Though less frequently performed than some of Saint-Saëns’s larger works, such as his Organ Symphony or Carnival of the Animals, the Barcarolle stands as a gem of his chamber music output, offering a glimpse into the poetic and intimate side of his artistry.
Camerata has performed the Fantasie for Violin and Harp,Op. 124 (2005) and the Cello Sonata No. 2 (2024).
FANNY MENDELSSOHN-HENSEL (1805–1847)
String Quartet in E-flat Major (1834)
Fanny Mendelssohn-Hensel, an extraordinary composer and pianist of the Romantic era, composed her String Quartet in E-flat Major in 1834. Though historically overshadowed by her younger brother Felix Mendelssohn, Fanny’s works are remarkable for their originality, emotional depth, and technical skill. This string quartet is one of her most ambitious compositions, reflecting both her deep understanding of chamber music and her innovative spirit.
Composed during a pivotal time in her life, the quartet was written shortly after her marriage to painter Wilhelm Hensel and amidst her struggles to gain recognition in a society that often restricted women’s public roles in music. Despite these challenges, Fanny continued to compose prolifically, with the String Quartet in E-flat standing as a testament to her artistry.
The opening movement begins with a slow, reflective introduction, creating an air of intimacy and introspection. The rich harmonic language and lyrical themes immediately establish the quartet’s Romantic character, with moments of tension and resolution that hint at a deeper emotional narrative.
The second movement offers a lighter, more playful contrast. Its graceful melodies and rhythmic drive evoke a sense of joy and elegance, reminiscent of her brother Felix’s chamber works yet distinctly her own. The movement is marked by sparkling interplay between the instruments, showcasing Fanny’s skillful use of texture and counterpoint.
The heart of the quartet lies in the Romanze, a deeply expressive slow movement that highlights Fanny’s gift for melodic writing. The violin introduces a tender, songlike theme, supported by the warm harmonies of the other strings. This poignant movement seems to capture a sense of longing and introspection, revealing the composer’s emotional depth.
The quartet concludes with a vibrant and energetic finale. Filled with rhythmic vitality and spirited interplay among the instruments, the movement brings the work to a rousing and triumphant close. The dynamic character of the finale reflects Fanny’s ability to blend virtuosic brilliance with heartfelt emotion, leaving a lasting impression on the listener.
Fanny Mendelssohn-Hensel’s String Quartet in E-flat Major is a remarkable achievement that combines technical mastery with emotional depth. While her works were largely unpublished and rarely performed during her lifetime, the quartet has since been recognized as a vital contribution to the chamber music
repertoire. It stands as a powerful reminder of her creative voice, one that continues to resonate and inspire audiences today. For more biographical information about this remarkable composer, scan the QR code with the camera on your phone.
This is the first work of Fanny Mendelssohn-Hensel Camerata has performed.
ERNŐ DOHNÁNYI (1877–1960)
Piano Quintet No. 2 in E-flat Minor, Op. 26
Composed in 1914, Ernő Dohnányi’s Piano Quintet No. 2 in E-flat Minor, Op. 26, is a masterful work of late Romanticism that reflects both the composer’s deep connection to Brahmsian tradition and his own distinctive musical voice. Dohnányi, one of Hungary’s most significant composers, pianists, and conductors, was a towering figure in 20th-century music, renowned for his contributions to Hungarian musical life and his rich, expressive compositions.
The quintet is the second of two piano quintets Dohnányi wrote, separated by nearly two decades. While the first quintet, composed in 1895, is infused with youthful exuberance and Brahmsian influence, the second quintet reveals a more mature, introspective, and harmonically adventurous composer. Written during a time of political unrest and on the brink of World War I, the work balances emotional depth with formal clarity, offering a profound listening experience.
The opening movement begins with a brooding, introspective theme in the piano, immediately establishing the somber and dramatic mood of the quintet. The strings enter with a yearning melody that unfolds into a rich interplay of themes and counterpoint. Dohnányi’s use of chromatic harmony and shifting tonalities heightens the tension, while the lyrical beauty of the main themes provides moments of poignant contrast. The movement builds to a dramatic climax before retreating to a subdued and reflective conclusion.
The second movement serves as the emotional heart of the quintet. Marked Adagio, it opens with a hymn-like theme introduced by the strings, accompanied by delicate arpeggios in the piano. This serene opening is gradually transformed through lush harmonies and expressive counterpoint, creating an atmosphere of profound introspection and melancholy. The movement’s tranquil close leaves an impression of deep emotional resonance.
The quintet concludes with a fiery and energetic finale, marked by rhythmic drive and dramatic intensity. The main theme is boldly introduced and developed through dynamic interplay between the piano and strings. Dohnányi’s use of
syncopation, sudden harmonic shifts, and textural contrasts keeps the listener engaged throughout. The movement culminates in a triumphant coda, where the initial darkness of E-flat minor is finally transformed into a radiant and victorious resolution.
Dohnányi’s Piano Quintet No. 2 is a testament to his mastery of chamber music and his ability to combine Romantic lyricism with forward-looking harmonic language. The work is both intensely personal and universally resonant, reflecting the struggles and hopes of its time. Although less frequently performed than other quintets in the repertoire, it stands as a gem of 20th-century chamber music, offering performers and audiences alike a powerful and moving musical experience.
Camerata has performed Serenade in C Op. 10 (2003, 2020) and Sextet (2006).
Notes by Ken Freudigman 2024
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, University of Texas, and Northwestern University.
KENNETH FREUDIGMAN CELLO
Kenneth Freudigman, the Co-Founder and Artistic Director of Grammy Nominated Camerata San Antonio, has an extensive musical background. He served as the Principal Cello of the San Antonio Symphony from 2004 to 2022 and currently holds the same role in the new San Antonio Philharmonic. With a degree from the Eastman School of Music, he has studied under renowned teachers such as Steven Doane, Alan Harris, and Crispin Campbell.
In addition to his work in San Antonio, Mr. Freudigman has performed with esteemed orchestras like the Atlanta Symphony, Mexico City Philharmonic, Grand Rapids Symphony, Virginia Symphony, and the New World Symphony, among others. His reputation as a cello pedagogue is highly regarded, and he also serves as the Conductor of Youth Orchestras of San Antonio Symphony and Concertino Orchestras.
For the past 30 years, Mr. Freudigman has maintained a successful studio, tailoring lessons to meet the unique goals and challenges of each student. His teaching philosophy revolves around building a solid foundation through the fundamentals of string playing. He assesses the developmental stage of new students and guides them towards success.
Over the years, Mr. Freudigman’s students have achieved notable accomplishments. Many have secured positions in prestigious Texas region and All-State ensembles, while others have attended renowned summer music festivals such as Interlochen, Sewanee, Sphinx Academy, Tanglewood, Bowdoin, Heifetz Academy, and The Perlman Institute. Some of his students have also participated in major music competitions, including Ronald Sachs, Sphinx, Stulberg, Ann Arbor Young Artist, Tchaikovsky Young Musician, and Hudson Valley, with several winning or placing in these competitions.
His students have received various awards, such as the From the Top Jack Cooke Kent Young Artist Award, Texas Commission on the Arts Young Masters Recipient Sphinx Power Grant, Paul and Daisy Soros Fellowship and 3rd Place Laureate at the Sphinx Competition.
Furthermore, Mr. Freudigman has guided his students to gain admission to renowned institutions such as Curtis, Colburn, Eastman, Juilliard, Rice, University of Michigan, Indiana University, Oberlin, Northwestern, New England Conservatory, University of Texas at Austin, Baylor University, University of North Texas, Texas Tech University, and DePaul University. Many of these students have gone on to successful careers in music, becoming faculty members at universities or performing as soloists and chamber musicians.
EMILY FREUDIGMAN
KENNETH FREUDIGMAN
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), the University of Delaware (MM), and was a Tanglewood fellow for two summers. Her primary teachers have included William dePasquale, Xiang Gao, and Ellen dePasquale.
Ms. Scalzo was a member of the first violin section of the San Antonio Symphony from 2011-2021, and served as Assistant Concertmaster of the Mid-Texas Symphony until 2024. Before moving to San Antonio, she was a tenured member of the Delaware and Allentown Symphonies. She has performed concertos with the MidTexas Symphony and the Wilmington Community Orchestra.
A passionate chamber music lover, Ms. Scalzo has worked with various ensembles including the Serafin String Quartet, and the Mid-Texas Chamber Players. She has performed with Camerata San Antonio since 2023.
Ms. Scalzo is an enthusiastic teacher and maintains a robust private studio. She also has many interests outside of music and in 2022 she founded a landscape design company, Roots in the City (www.rootsinthecitytx.com), which specializes in organic vegetable and native plant gardening.
VIKTOR VALKOV PIANO
Winner of the 2015 Astral Artists National Auditions, and Gold medalist at the 2012 New Orleans International Piano Competition, Viktor Valkov has been highly acclaimed by the critics as “lion of the keyboard” and “sensational”. Among numerous chamber music and solo appearances, during the last few concert seasons Mr.Valkov also performed with the San Antonio Symphony Orchestra, Springfield Symphony Ortchestra, Louisiana Philharmonic Orchestra, Baton Rouge Symphony Orchestra, Acadiana Symphony Orchestra, Salt Lake Symphony, and West Virginia Symphony Orchestra.
Since 2002 Valkov has given a number of recitals in USA, Japan, China, Haiti, England, Germany, Italy, Norway, Greece, Bulgaria, and Macedonia. In Bulgaria, Viktor Valkov appeared in performances with most of the major orchestras and at most of the important music festivals. In 2003, he received an invitation from the New Symphony Orchestra, and conductor Rossen Milanov, to perform Dimitar Nenov’s Grande Piano Concerto. Thus he became the fifth pianist to perform that concerto and the only one to do the entire version. In 2007, Mr.Valkov made his debut with the Sofia Philharmonic Orchestra.
Mr.Valkov’s concert activities reflect a vast interest in the chamber music repertoire, as well as lesser known piano music. He frequently performs with the Bulgarian cellist, Lachezar Kostov, in a cello and piano duo. Both being deeply interested in broadening the repertoire for that medium, they often include in their programs composers like Kabalevsky, Roslavetz, Schnittke, Saint-Saens (the Second cello Sonata), and others. Their close friendship and professional collaboration began in 2000.
In 2009, the Kostov-Valkov Duo gave their Carnegie Hall debut at Zankel Hall. In 2011 they won the Liszt-Garisson International Competition, where they were awarded First Prize, the overall Liszt Prize as well as all the special prizes in the collaborative artists category.
As a solo performer one of Mr.Valkov’s latest projects featured Busoni’s Fantasia Contrappuntistica, Beethoven’s Hammerklavier Sonata, and Mussorgsky’s Pictures at an Exhibition as the focal point of his concert programs. During the 2011-2012 Viktor Valkov presented a program of music from the 1600’s including composers like Froberger, L Couperin, Frescobaldi, Buxtehude and selections from the Fitzwilliam Virginal Book.
Mr.Valkov has made a number of recordings for the Bulgarian National Radio archive, many of which have been broadcast. He has also recorded for Bulgarian National Television and Macedonian Radio and Television. Since 2008 he has recorded albums for a number of labels including NAXOS, GrandPiano, Toccata Classics, Albany Records, Summit Records, Parma Recordings, Bridge Records, and Acis Records. Viktor Valkov is currently an Associate Professor of Piano at the University of Utah in Salt Lake City.
LAURA SCALZO
VIKTOR VALKOV
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, Performers’ Certificate), where he served as teaching assistant to the world renowned violinist and teacher, Charles Castleman, and was awarded the John Celentano award for excellence in chamber music.
Formerly the Assistant Concertmaster of the San Antonio Symphony (2008-2012), Matthew teaches violin full time in San Antonio. During the 2023-24 Season, his students won all of the San Antonio contests: The YOSA Concerto Competition, 1st, 2nd, and 3rd places in the Inspired by KPAC Competition, and participation in the SA Phil masterclasses. They led both the Region 12 Orchestra and the YOSA Philharmonic as Concertmasters. The three San Antonio violin students admitted to the prestigious TMEA AllState orchestra were all from the Zerweck Studio. His students also premiered the works of local San Antonio composers at the Doseum as part of “Made in SA IX.” Matthew’s graduating seniors will attend Eastman, CIM, HEMU in Switzerland, and the Royal Conservatory of Music in the Fall of 2024.
In his spare time, Matthew enjoys family time with his wife Nancy, and two children, Charlie and Amelia.
MATTHEW ZERWECK
2024-2025 BOARD
JENNIFER GARCIA-HETTINGER PRESIDENT
KAY LORRAINE JOHNSON VICE PRESIDENT
JULIE KENFIELD TREASURER
JENNY FISH SECRETARY
SARA HAMILTON
SARA PETERS
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
Introducing the Texas Violin Shop: Your Go-To Family-Owned Business in San Antonio. Come and experience our workshop, where we prioritize providing each customer with a positive and unique experience. From your very first student instrument to upgrading to a professional model, we've got you covered. Our selection of products is handpicked to meet our rigorous standards and cater to every budget.
At our company, we value community involvement and take pride in supporting local events and organizations that promote the arts. We strongly believe in the power of musi c to bring people together and are thrilled to be an active participant in San Antonio's thriving music scene.
Meet Samantha - a talented luthier and the owner of the only violin shop in San Antonio that creates handmade instruments in house.
2024-2025 DONORS THANK YOU TO OUR
CAMERATA CIRCLE
A Production Costs Grant from the City of San Antonio Department of Arts and Culture
Kenneth Bloom and Sheila Swartzman Charitable Trust
Sponsor of violinist Laura Scalzo and in memory of Kenneth Bloom
Dr. & Mrs. Thomas R. Hamilton
Sponsors of violinist
Matthew Zerweck
The Agnes and Jim Lowe Fund
Didi & Alan Weinblatt
Sponsors of pianist Viktor Valkov
CHAMBER CIRCLE
Stratton Rehab Clinic
Sponsors of Ken Freudigman
PATRONS CIRCLE
Lynda and Steve Ables
Colleen and George Bri
Dr. Donald K. Burda
An Events Grant from the City of San Antonio Department of Arts and Culture
Mary Anne Crosby
Linda & Edgar Duncan
Ruth Ann Edney
Dr. & Mrs. Charles Goodhue
James Family Charitable Fund of the San Antonio Area Foundation
Barbara Kyse
Ann & Carl Leafstedt
In blessed memory of Scott Baird
Sara Anne Pomerantz
Wayne & Barbara Shore
Janna Spurlock
Terra Nova Violins
Sponsor of annual chamber music master class
Watt Charitable Giving Fund
BENEFACTORS CIRCLE
Anonymous
Verna Benham
Liz Davenport
Colleen and George Brin
Liz Davenport
Forrest Family Charitable Fund
Garner Family Fund
Richard E. & Antonia K. Goldsmith
Mike Greenberg
Kay Lorraine Johnson
Phyllis Kline
Joe & Toni Murgo In memory of Kenneth Bloom
Stephenson Family Gift Fund
Connie & Bruce Story
Nancy & Edgar Wallace
ADVOCATES CIRCLE
Allegra Marketing Print Mail
Bernice Davis
Freda Flax
Peter T. Guenther
Helen Gail Jarratt
Julie Kenfield & Guy Clumpner
Frederica & Martin Kushner
LuAnn Lockerbie
Nickey McCasland
Mark P. Robbins
Mo & Brigitte Saidi
Barbara Stover
SUBSCRIBERS CIRCLE
Virginia Bonnefil & Simon van Dijk
Annelies Castro-Rios
Jacqueline Claunch
Alan Cutler
April Dickson
Arlene Dryer
Jenny Fish
Sharon Hellman-Freiberg
Emily & Ken Freudigman
Carol Frohlich
Randolph & Pauline Glickman
Margaret Hager
Jim Harnish
Delicia Herrera
Anne & Bruce Johnson
Julie Post & Andrew Kania
Suzanne Kasanoff
Jin Lee
Hannah Margolis
Elisa Nivon
Lynne Noriskin
Helen Ridgway
Kathy & Robert Rothen
Christie Smith
Kim Smith
Ann Springer
Tim and Mary Ellen Summerlin
Carol Talpey
Irma Taute
Dr. Ana M. Valadez
Gary and Jeanette Vaughan
Phil & Shirley Watkins
Susan Weintraub
Morgan Williams
John Woodworth
Dr. Marion Worthington
FRIENDS CIRCLE
Anonymous
Joseph Adam
Robin Allen
Helga Anderson Anna Catherine
Armstrong, MD
Anita Baranowski
Georgia Baron
Scott Bellair
Ellen Bettencourt
Yanie Betts
Susan Blanton
Jim Bridges
Diane Burchers
William Castleman
Evelyn Cooper
Mary Crowley
Fernanda Cuevas
Mike Davis
In honor of Toni Murgo
Catherine de Marigny
Yvonne Feinleib
Rachel Ferris
Kiki Foster
Althea Fowler
Karen Freudigman
Lisa & Ramiro Fuentes
Beverly Fulton
Anya Grokhovski
William Heffner
Lydia Hurtado-Yanez
Paul Hvass
Paula Johnson
Chris Lorenz
Bethany & Gary Mabry
Pablo Mahave-Veglia
Sarah & Marc Manzke
Hannah Margolis
Mendy Marsh
Carole & Carl McCauley
Shaun McChesney
Marguerite McCormick
Mimi McMillen
Janine Mejia-Diaz
Leland Morris
Phyllis Nguyen
Raymond Perez
Deborah Preston
Kathy Rafferty
Jose & Janie Rivas
Nancy & James Roberts
Tonja & Tim Rose
Rita Saavedra
Patsy & Edwin Sasek
David Saussy
Andrea Schmid
Georgina Schwarz
Bret Simons
Cara Smith
Laurence Smith
Brittany Socher
Marilyn Sommer
John Thompson
Rajia Tobia
Isai Trejo
Lynette Wedig
Marcia Weser
Gillian Wiggins
Alice Witterman
Yu Yuan
Elaine Zhang
Due to our printing schedule, gifts received after Jan 30, 2025, will be recognized in our first program book of the 25-26 season. Up-to-date donor listings may be found online at www .cameratasa .org/support.
To donate, please visit our website or send a check payable to Camerata San Antonio to: 11618 Raindrop Dr . San Antonio TX 78216
Donations to Camerata San Antonio are tax deductible to the extent allowed by law. Federal Tax ID #56-2382185
SPECIAL THANKS
The Camerata Compadres
Our Wonderful Volunteer Corps
BlackStone Studio
Barbara Holland
Bob Catlin
Christ Episcopal Church
Bishop Gary Lillibridge
INTERIM 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
Floresent Marketing
Alex Flores
Leon Camacho
Kerrville First Presbyterian Church
Rev. Jasiel Hernandez Garcia PASTOR
Seth Lafler
DIRECTOR OF CHORAL MUSIC
Sabrina Adrian ORGANIST
Worship Committee
National Charity League, Inc
Alamo Chapter
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
