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
Trésors Musicaux
Two Pieces for Violin L . Boulanger and Piano (1911/1914) (1893-1918)
Nocturne
Cortège
Sonata for Cello and Piano C . Saint-Saëns No. 2 in F Major, Op. 123 (1905) (1835-1921)
Maestoso largamente
Scherzo con variazioni
Romanza, poco adagio
Allegro non troppo, grazioso
15 MINUTE INTERMISSION
Three Pieces for Viola N . Boulanger and Piano (1914) (1887-1979)
Modéré
Sans vitesse et à l’aise
Vite et nerveusement rythmé
Piano Quartet No. 1 in C Minor, G . Faure Op. 15 (1879) (1845-1924)
Allegro molto moderato
Scherzo: Allegro vivo
Adagio
MUSICIANS
Laura Scalzo, violin
Emily Freudigman, viola
Ken Freudigman, cello
Viktor Valkov, piano
CONCERT DATES
November 8, 2024
Friday at 4:00pm
Kerrville First
Presbyterian Church
November 9 2024*
Saturday at 3:00pm
Episcopal Church of the Holy Spirit (NW SA)
November 10, 2024
Sunday at 2:00pm
Christ Episcopal Church
Allegro molto *Made possible in part by a grant from the City of
Trésors Musicaux PROGRAM NOTES
LILI BOULANGER (1893-1918)
Two Pieces for Violin and Piano: Nocturne (1911) & Cortège (1914)
Lili Boulanger was a child prodigy both in piano and composition and became the first woman to win the prestigious Prix De Rome composition prize. Sadly, her promising career was cut tragically short by tuberculosis. In the mainline tradition of French music, her music follows the traditions of Faure tinged with the sounds of Debussy’s impressionism.
The nocturne opens with a simple rocking motion in the piano as the violin repeats a beautiful rising melody, evoking an image of nocturnal serenity. The Cortège, a procession or march is a very energetic movement with a brisk walk that ends with a dramatic flourish.
This is the first work by Lili Boulanger Camerata has performed. For a deeper look into the life of Lili Boulanger, scan the QR code with the camera on your phone to listen to a podcast by Bruce Adolphe.
CAMILLE SAINT-SAËNS (1835-1921)
Sonata for Cello and Piano No. 2 (1905)
The Cello Sonata No. 2 in F major, Op. 123, was composed in 1905 during the composer’s stay in Biskra, Algeria nearly 30 years after his first cello sonata. SaintSaëns composed many works for cello, including the Suite in D minor, Op. 16, the Sonata in C minor, Op. 32, the Allegro appassionato, Op. 43, and maybe his most popular melody, The Swan from The Carnival of the Animals. The Cello Concerto in A minor, Op. 33, is a staple of the cello repertoire and is one of the first “real” concertos young cellists encounter. While Saint-Saëns deemed his second sonata far superior, the first sonata overshadowed it during his lifetime. Sadly, very little of his music outside of the Organ Symphony, the Cello Concerto, Danse Macabre and a few others are programmed these days. However, I find that his music is of supreme craft and is as fun for the players to play as for the audience to hear.
The first movement, marked Maestoso largamente or majestic with a broad tempo, presents two contrasting themes: one energetic and bustling (very reminiscent of the heroic first movement of the Brahms 2nd Sonata Op. 99), characterized by a dotted rhythmic pattern, and the other more playful. A serene theme introduces
tranquility to the dialogue between the two instruments and the development of the material following classical lines.
The second movement, titled Scherzo con variazioni and marked Allegro animato, is a set of eight variations on a lively theme initially stated by the piano in unison octaves. Saint-Saëns, in a letter to his publisher, mentioned that he did not follow the trend of making the variations vastly different from the theme, but still ensured they were sufficiently contrasting, even including a fugue.
The third movement, a Romanza marked Poco adagio e molto espressivo, features melodious and expressive writing for the cello, accompanied primarily by broken chords and arpeggios in the piano. Saint-Saëns described this movement as one that “will bring tears to the eyes of sensitive souls.”
The finale, marked Allegro non troppo grazioso, is characterized by its graceful and flowing nature. Saint-Saëns self-deprecatingly noted that this movement “will awaken those who have been put to sleep by the other movements.” A charming cantabile theme is prominently featured and developed throughout the movement. The sonata concludes with a harmonious and amiable resolution, reminiscent of a conversation that began with some disagreement but ends with tender reminiscences of past happiness.
Camerata has performed Saint-Saëns’ Fantaisie for Violin and Harp (2006).
NADIA BOULANGER (1887-1979)
Three Pieces for Viola and Piano (1915)
Nadia Boulanger was a pianist, composer and very likely the most influential composition teacher of the 20th century. Among her students are Aaron Copland, Elliot Carter, Astor Piazzolla, Phillip Glass and George Walker. She studied at the Paris Conservatoire with Gabriel Fauré and privately with Louis Vierne. Among her social circles were all the luminaries of early 20th-century music. Fauré and Saint-Saëns were among her closest influences. They all fit so well on today’s program together
The first piece opens with mysterious syncopation in the piano followed by a searching melody in the viola (playing with mute). The syncopated effect is akin to seeing multiple reflections off the water. Here is where the delicate nature of this early work shows the influence of Faure and Debussy.
The peaceful lament of the second movement is played without hurry and with ease. A bold melody interrupts the opening lullaby before settling back to close the movement. The rich middle range of the instrument is exploited throughout this movement, with the warm timbres practically melting off of the instrument. This movement ends quietly.
The frantic finale stands out as the most energetic of the three pieces. Boulanger’s use of the piano as a supporting partner to the viola truly shines in this movement and has the most Debussy-like character. The active melody and fast scales, paired with the piano’s largely chordal accompaniment, create a dynamic wave of sound. The lyrical central section highlights the viola’s rich timbre, exploring its full range in a brief span. The vigorous opening sequence reappears, propelling the piece toward its dramatic conclusion.
This is the first work by Nadia Boulanger Camerata has performed. For a deeper look into the life of Nadia Boulanger, scan the QR code with the camera on your phone to view a documentary by Bruno Monsaigeon.
GABRIEL FAURÉ (1845-1924)
Piano Quartet in C Minor, Op. 15 (1884)
Gabriel Fauré’s Piano Quartet No. 1 in C minor, Op. 15, transports listeners to a magical realm of shimmering colors and effortless motion. Amid the emotional intensity of nineteenth-century Romanticism, this piece features pristine lines and classical elegance. It unfolds with a sublime simplicity and directness, deriving its expression from a sense of emotional detachment. Set in an unexpectedly bright and blissful C minor, it subtly conceals undercurrents of quiet lament for such a dark key. The second movement is a sparkling and effervescent scherzo with a playful dialogue that unfolds between the piano and strings, propelled forward by bouncy pizzicato. In the trio section, the veiled sound of muted strings floats over glistening splashes of color in the piano. The pulse ticks along with intricate precision while the music seems to float through the air. Only in the solemn and contemplative third movement do we confront tragedy head-on. Its dark melancholy is that of a funeral service tinged with a happy memory of the recently departed. The final movement is a dazzling tour-de-force which is simultaneously turbulent and playful. A vibrant instrumental conversation unfolds amid glistening piano arpeggios, swirling around with unbridled exuberance. It ends in C major with nearly over-the-top joy.
At times, this forward-looking music hints at the impressionism of Debussy and Ravel, where tone color and harmony gain a sensuous significance of their own.
Camerata has performed Fauré’s Piano Quartet No.1 (2004), String Quartet In E minor (2017), Piano Quintet No. 2 (2019), and La Bonne Chanson (2024).
Notes by Ken Freudigman 2024
“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
Bach Reflections
Fancy on a Bach Air (1996) J . Corigliano (b.1938)
Suite No. 4 in E-flat Major, J .S . Bach
BWV 1010 (1717-1723) (1685-1750)
Prelude
Allemande
Courante
Sarabande
Bourrée I & II
Gigue
15 MINUTE INTERMISSION
The Goldberg Variations, J .S . Bach
BWV 988 (1741/1985) (1685-1750)
Aria arr. D . Sitkovetsky
Variation I-XXX (b.1954)
Aria
MUSICIANS
Matthew Zerweck, violin
Emily Freudigman, viola Ken Freudigman, cello
CONCERT DATES
January 10, 2025
Friday at 4:00pm
Kerrville First
Presbyterian Church
January 11, 2025
Saturday at 3:00pm
Episcopal Church of the Holy Spirit (NW SA)
January 12, 2025
Sunday at 2:00pm
Christ Episcopal Church
Bach Reflections PROGRAM NOTES
JOHN CORIGLIANO (B.1938)
Fancy Air on Bach (1996)
Fancy on a Bach Air began in celebration and ended in memoriam. My cousin introduced me to his colleague Robert Goldberg and his wife Judy, avid music lovers both. We became fast friends. When, later, they asked me to compose a piece for their 25th wedding anniversary, I suggested that instead of a single writer they ask a group of composers to write variations. And what better theme to choose than the venerable melody of the variations that bore their name? Bach would surely approve.
Their close friends Yo-Yo Ma and Emanuel Ax agreed to play the variations. Then tragedy struck. Robert succumbed to a virulent cancer and died all too soon.
Judy’s spirit and love led her to transform what might have been a requiem into a celebration of her husbands’ life, and Ma and Ax performed the set of Variations preceded by the Bach theme in Boston where the Goldberg’s live.
My “Goldberg Variation,” Fancy on a Bach Air, is for unaccompanied cello. It transforms the gentle arches of Bach’s theme into slowly soaring arpeggi of almost unending phrase-lengths. Its dual inspiration was the love of two extraordinary people and the solo cello suites of a great composer – both of them strong, long-lined, passionate, eternal a, and for me, definitive of all that is beautiful in life.
This is the first work by John Corigliano Camerata has performed. To read more about John Corigliano, whose father was a concertmaster of the San Antonio Symphony, scan the QR code with the camera on your phone.
Notes by John Corigliano
J.S. BACH (1685-1750)
Suite No. 4 in E-flat Major, BWV 1010 (1717-1723)
J.S. Bach’s Cello Suite No. 4 in E-flat Major, BWV 1010, is a remarkable work that showcases the composer’s unparalleled ability to blend technical mastery with
deep emotional expression. Written during Bach’s time in Köthen (1717-1723), a period marked by his dedication to instrumental music, this suite is one of six composed for solo cello, each exploring distinct musical themes and moods.
The suite is structured in a traditional dance form, featuring an Allemande, Courante, Sarabande, Menuets I & II, and a Gigue. Each movement highlights different aspects of the cello’s capabilities, from lyrical melodies to intricate counterpoint.
The prelude introduces E flat major with a slow-moving chord progression through a series of cascading arpeggios. The character evokes the architectural grandeur of a cathedral.
The opening Allemande sets a contemplative tone, characterized by its flowing lines and gentle grace. It invites the listener into a world of introspection, with rich harmonies that convey a sense of serenity.
The Courante follows with a lively and energetic character. Its quick running tempo and intricate rhythms reflect a sense of joy and movement, showcasing Bach’s skill in creating dialogue between voices within the solo instrument.
The Sarabande introduces a stark contrast, offering a slower, more solemn reflection. This movement is deeply expressive, allowing the cellist to explore a wide emotional range, from poignancy to tranquility. The weight of each note resonates with a profound sense of gravity.
The Menuets bring a playful yet elegant spirit to the suite. The charming and dance-like quality of these movements provides a delightful interlude, inviting the listener to experience a lighter, more joyous atmosphere. The interplay between the two Menuets adds depth and contrast to the overall structure.
The suite culminates in the spirited Gigue, which is lively and exuberant. Its intricate rhythms and joyful energy bring the work to a jubilant close, encapsulating the essence of Bach’s genius. The interplay of melody and counterpoint in this movement showcases the cello’s versatility and richness.
The 4th Suite is not just a technical challenge for the performer but also a profound exploration of the human experience. Its combination of elegance, complexity, and emotional depth continues to resonate with audiences, making it a cornerstone of the cello repertoire. We are reminded of Bach’s timeless ability to transcend the boundaries of time and genre and how these works speak to us 300 years later.
J.S. BACH (1685-1750)
ARR. DMITRI SITKOVETSKY (B.1954)
Goldberg Variations (1741)
The story of how the variations came to be composed comes from an early biography of Bach by Johann Nikolaus Forkel
For the Goldberg Variations we have to thank the instigation of the former Russian ambassador to the electoral court of Saxony, Count Kaiserling, who often stopped in Leipzig and brought there with him the aforementioned Goldberg, in order to have him given musical instruction by Bach. The Count was often ill and had sleepless nights. At such times, Goldberg, who lived in his house, had to spend the night in an antechamber, so as to play for him during his insomnia. ... Once the Count mentioned in Bach’s presence that he would like to have some clavier pieces for Goldberg, which should be of such a smooth and somewhat lively character that he might be a little cheered up by them in his sleepless nights. Bach thought himself best able to fulfill this wish by means of Variations, the writing of which he had until then considered an ungrateful task on account of the repeatedly similar harmonic foundation. But since at this time all his works were already models of art, so also these variations became under his hand. Yet he produced only a single work of this kind. Thereafter the Count always called them his variations. He never tired of them, and for a long time sleepless nights meant: “Dear Goldberg, do play me one of my variations.” Bach was perhaps never so rewarded for one of his works as for this. The Count presented him with a golden goblet filled with 100 Louis d’or. Nevertheless, even had the gift been a thousand times larger, their artistic value would not yet have been paid for.
After a statement of the aria at the beginning of the piece, there are thirty variations. The variations do not follow the melody of the aria but rather use its bass line and chord progression. For me, this is the most remarkable work ever written in the Baroque period. For a keyboard version of this work, seek out the recordings of Glenn Gould. He loved these works so much that he recorded them twice. The first in 1955 and the second in 1981. They have wildly different interpretations showing how an artist can change their thinking over time.
This version of the Goldberg Variations for string trio arranged by Dmitry Sitkovetsky is a welcome addition to the chamber music repertoire.
Camerata has performed all six Brandenburg Concertos (2003), Cello Suite No. 3 (2004), and four Fugues from the Art of the Fugue (2015).
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.
Emily can be heard on Trésors Musicaux, Bach Reflections, and Romantic Resonances this season .
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.
Ken can be heard on Trésors Musicaux, Bach Reflections, and Romantic Resonances this season .
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.
Laura can be heard on Trésors Musicaux, The Camerata Recital, and Romantic Resonances this season .
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
LAURA SCALZO
VIKTOR VALKOV
an Associate Professor of Piano at the University of Utah in Salt Lake City.
Viktor can be heard on Trésors Musicaux, The Camerata Recital, and Romantic Resonances this season .
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 All-State 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 can be heard on Bach Reflections, and Romantic Resonances this season .
MATTHEW ZERWECK
2023-2024 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
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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
CHAMBER CIRCLE
Stratton Rehab Clinic
Sponsors of Ken Freudigman
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An Events Grant from the City of San Antonio Department of Arts and Culture
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Yu Yuan
Elaine Zhang
Due to our printing schedule, gifts received after Oct 19, 2024, will be recognized in our Feb/Apr program. 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
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
SPECIAL THANKS
The Camerata Compadres
Our Wonderful Volunteer Corps
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
