Kerson Leong
MUSICIAN ROSTER 2024-2025
Antoine Plante, Conductor
Lynn Wyatt Artistic Director Chair
VIOLIN
Jonathan Godfrey
Concertmaster
Anabel Ramírez
Assistant Concertmaster
Oleg Sulyga
Principal Second Violin
Joanna Becker
Ryan Cheng*
Lucinda Chiu
Laura Cividino
Matthew Detrick
Andrés González
Jackson Guillen
Marisa Ishikawa
Kana Kimura
Matt Lammers
Maria Lin
Sean O’Neal
Cristina Prats-Costa*
Emily Richardson
Katrina Savitski
Jacob Schafer
Ervin Luka Sešek
Rachel Shepard
Ariya Tai
Hannah Watson
Kirsten Yon
VIOLA
Kathleen Carrington, Principal
Amber Archibald
Matthew Carrington
Rachel Halvorsen
Matthew Weathers
Rainey Weber
CELLO
Eunghee Cho, Principal
Keiran Campbell
Matthew Dudzik
Christopher Ellis
Ellie Traverse Herrera
Kristiana Ignatjeva
Patrick Moore
Caroline Nicholas
Annamarie Reader
DOUBLE BASS/VIOLONE
Deborah Dunham, Principal
Hunter Capoccioni
Paul Ellison
Erik Gronfor
Elvis Martinez
Antoine Plante
THEORBO/GUITAR
Héctor Torres González
Principal
FLUTE
David Ross, Principal
Immanuel Davis
Andrea LeBlanc
OBOE
David Dickey, Principal
Andrew Blanke
Pablo Moreno
Pablo O’Connell
CLARINET
Thomas Carroll, Principal
Elise Bonhivert
BASSOON
Nate Helgeson, Principal
Georgeanne Banker
Allen Hamrick
TRUMPET
Kris Kwapis, Principal
Amanda Pepping
HORN
Todd Williams, Principal
Burke Anderson
Nate Udell
PERCUSSION/TIMPANI
Jesús Pacheco, Principal
HARPSICHORD/ORGAN
Mario Aschauer, Principal
Bryan Anderson
Brad Bennight
HARP
Caitlin Mehrtens, Principal
TEACHING ARTISTS
Kathleen Carrington
Andrés González
Daphnee Johnson
Fiona Lofthouse
Stephen Martin
Brenda Rengel
Mayara Velásquez
*Mercury-Juilliard Fellow
A NOTE FROM THE ARTISTIC DIRECTOR
Dear Friends,
As the finale to the season, I am thrilled to share two extraordinary musical journeys with you.
First, we invite you to experience a unique fusion of cultures and styles as Mercury musicians join forces with three brilliant Venezuelan guest artists - Alexis Cárdenas, Jorge Glem, and Elvis Martinez - for an unforgettable evening of Venezuelan folk music infused with the spirit of Bach. Curated and led by Alexis Cárdenas, this program offers a rare chance to witness the energy and rhythmic complexity of traditional Venezuelan music bent through the world of Baroque counterpoint and styles - a joyful celebration of musical storytelling across borders.
Then in May, we turn to the genius of Felix Mendelssohn in an all-Mendelssohn program that spans the composer’s early and mature works. The concert opens with his youthful String Symphony No. 4 - written when he was just 15 - a piece brimming with charm and precocious invention. We then welcome Canadian violinist Kerson Leong for Mendelssohn’s beloved Violin Concerto in E Minor. Completed in 1844, this concerto broke new ground with its seamless transitions between movements and the soloist’s immediate entrance, departing from classical norms. It remains one of the most lyrical works in the repertoire. The evening concludes with the Symphony No. 4 inspired by Mendelssohn’s travels through Italy. Full of color, vitality, and sun-drenched melodies, the symphony captures
the exuberance and elegance of the Italian landscape and spirit.
Presented on period instruments, this program offers a fresh and historically informed perspective on music - revealing new textures, colors, and expressive depth.
Thank you for joining us - your presence makes this music come alive. We look forward to sharing these beautiful moments with you.
Warm regards,
Antoine Plante Artistic Director
Empowering through Music
ConocoPhillips is a proud sponsor of the Mercury Chamber Orchestra and this year’s ConocoPhillips Neighborhood Series
Mercury continues to receive critical and audience acclaim for its innovative and welcoming performances, while also impacting the lives of young Houstonians through award-winning music education programs. We commend the orchestra on its mission to serve the community by celebrating the power of music—through teaching, sharing, and performing with passion, intimacy, and excellence. www.conocophillips.com
ConocoPhillips Neighborhood Series
Bach to Joropo
April 10 • 7:30PM
Heights Saengerhalle
April 12 • 2:30PM Memorial
April 12 • 6:30PM Museum District
St. Paul’s United Methodist Church
April 13 • 7:00PM
The Woodlands
Dosey Doe
Alexis Cárdenas, Violin
Jorge Glem, Cuatro
Elvis MartÍnez, Bass
Jonathan Godfrey, Violin
Andrés González, Violin
Matthew Carrington, Viola
Eunghee Cho, Cello
Jesús Pacheco, Percussion
Program announced from stage.
Neighborhood
SERIES
BACH TO JOROPO
Alexis Cárdenas
Violin
Alexis Cárdenas is a soloist, chamber musician and recitalist in great demand and has been invited to perform as soloist with orchestra such as the Vienna Symphony Orchestra, Monte Carlo Philharmonic, Radio France Symphony Orchestra, Moscow Philharmonic, Montreal
Symphony Orchestra, Montreal I Musici Symphony, Murcia Symphony Orchestra, the Simon Bolivar Symphony Orchestra and many others.
Born in Maracaibo, Venezuela, in 1976, Cardenas began his studies at the age of 9. At age 12, he made his debut playing Mendelssohn’s Violin Concerto with the Maricaibo Symphony Orchestra and a year later he performed the Tchaikovsky Violin Concerto. He continued his studies in New York at the Juilliard School of Music (PreCollege Division) with Margaret Pardee and later at the National Superior Conservatory of Music and Dance in Paris with Olivier Charlier. There he graduated first place in his class and earned First Prize, awarded unanimously.
He has been presented in major international festivals with
artists such as Richard Galliano, Hamilton de Holanda, Didier Lockwood, Oliver Charlier, Gèrard Caussè, Jean-Marc Phillips, Yamandu Costa, Pablo Ziegler (Tango), and Lito Vitale.
He is the winner of numerous international competitions: Tibor Varga (1997), Long Thibaud (1999 Fritz Keisler in Austria (2000), Henryk Szeryng in Mexico (2000), “Classic Revelation of the Adami” at the Midem in Cannes in 2001, Competition Paganini in 2002 then 2nd Grand Prix in Montreal in 2003.
Furthermore he has collaborated with conductors including Marek Janowski, Pavel Kogan and Gustavo Dudamel and has made the following recordings: Alexis Cardenas Trio “Fou rire” in 2005; “Luz Negra” with Richard Galliano in 2007.
Latin Grammy Award-winning and Grammy nominated cuatro player, mandolinist and musical producer, Jorge Glem is without a doubt one of Venezuela’s musical treasures. Raised in Cumaná, Venezuela, Glem, who currently resides in the U.S.,
has set out with a clear and driven purpose of presenting the Venezuelan cuatro as a universal instrument.
His amazing talent and driven purpose recently allowed him to perform a solo concerto for cuatro with acclaimed conductor, Gustavo Dudamel and the prestigious LA Philharmonic, to an exceptional standing ovation. He also recently joined celebrated multiple Grammy-winning, composer and pianist, Jon Batiste, as part of his ensemble in his sold out “American Symphony concert at the one and only Carnegie Hall in New York City. To boot, Glem has also shared the stage with renown worldwide figures such as Paquito D’Rivera, Jordan Rudess, Rubén Blades,
Carlos Vives, Calle 13, Natalia Lafoucarde, Gaby Moreno, Guaco, Desorden Público, Ensamble Gurrufío, Gualberto Ibarreto, Sofia Rei, Etienne Charles and many other important music personalities, accomplishing the fuse of this traditional instrument in genres such as jazz, salsa, bluegrass, rock, and pop. Jorge Glem is also a founding member of the acclaimed ensemble C4 Trio, who won a Latin Grammy for their album ” Tiempo al Tiempo,” with renown salsa artist Luis Enrique.
Glem has participated in over 200 productions and continues touring across the U.S., Latin America, and Europe and looks forward to many more collaborations incorporating the iconic Venezuelan cuatro.
Cuatro
Jorge Glem
Elvis Martínez
Bass
Born in Maracaibo, Venezuela, Elvis performed from a very young age in musical productions and with popular groups, including Los Mundiales. He studied
at the Jose Luis Paz Music Conservatory in Maracaibo and made his debut as soloist with the Maracaibo Symphony Orchestra at age 23 and with other orchestras around the country.
Elvis was also an active member of the Maracaibo Symphony Orchestra for 26 years and professor of the double bass cathedra at the Jose Luis Paz Music Conservatory for 17 years until 2017, where he trained the new Venezuelan talents that today stand out on stages around the world.
He is a composer and arranger of experimental Venezuelan music, member of the group of the renowned flutist Huáscar Barradas, with an exquisite
musical taste that has led him to be considered one of the most prominent musicians in the region. He has toured the world with both Huáscar Barradas and the Alexis Cárdenas Cuarteto.
He has also shared the stage with great artists such as Ílan Chester, Lilia Vera, María Teresa Chacín, Aldemaro Romero, Gustavo Colina, Gualberto Ibarreto, Frank Quintero, among others, and appeared on Miguel Siso’s album Identidad which won the Latin Grammy for Instrumental Music. Now based in Miami, he has continued his busy performance schedule with appearances in concerts and productions around the United States.
Mendelssohn’s Violin Concerto
Antoine Plante, Conductor
Kerson Leong, Violin
May
17 / 2025
Wortham Center, Cullen Theater
FELIX MENDELSSOHN BARTHOLDY (1809-1847)
String Sinfonia No. 4 in C Minor (1821)
Grave - Allegro Andante
Allegro vivace
Violin Concerto in E Minor, Op. 64 (1844)
Allegro molto appassionato Andante
Allegretto non troppo - Allegro molto vivace
Intermission
Symphony No. 4 in A major, Op. 90, “Italian” (1833)
Allegro vivace Andante con moto
Con moto moderato
Saltarello: Presto
Most of Felix Mendelssohn’s output falls between the early 1820s and 1847, the year of his death, which places him chronologically among early Romantic composers, such as Robert Schumann, Fryderyk Chopin, and Hector Berlioz. Mendelssohn stands apart, however, by virtue of his background, training, and above all, his compositions as more strongly connected to musical traditions of the eighteenth century in terms of musical forms, genres, and contrapuntal technique, and simultaneously for having absorbed an unusually wide array of musical and literary influences. Thus, the sacred music of J. S. Bach, Handel, and, from the late Renaissance, Palestrina; the folk music of the British Isles and of Italy; and literary works by Sophocles, Shakespeare, and Goethe (whom Mendelssohn knew personally) can all be counted as influences on this precocious and prolific composer.
Mendelssohn composed his Sinfonia for Strings in C Minor when he was twelve years old (a demonstration of his precocity), and it is one of thirteen such sinfonias that he wrote between 1821 and 1823 (a demonstration of his prolificness). As a whole, the sinfonias demonstrate the influences of J. S. Bach in their cultivation of imitative counterpoint; this Sinfonia in particular exhibits several different Baroque-
PROGRAM NOTES
era genres and styles, all likely channeled through Bach: the opening movement begins with a Grave section that is modelled on the French overture in its tempo, dotted rhythms, and characteristic Picardy-third cadence (i.e., on a major chord). The influence of the French overture continues in the following Allegro section in its fast, imitative triple meter. As a binary form, the Allegro also bears a connection to the courante, one of the Baroque-era courtly dances. The second movement, marked Andante, bears the stamp of the pastorale in its lilting compound meter and drone bass. Mendelssohn cast this movement in C major, but his use of modal mixture (borrowings from the parallel C minor) creates moments of a darkened mood and also makes possible an arresting modulation to A-flat major in the middle of the movement. The finale, another binary form that evokes a Baroque-era courtly dance, this time the gavotte, centers on a descending trill motive. Mendelssohn’s study of earlier music accounts for the passages in the finale of suspensions in the two violin parts over a running accompaniment in violas and cellos, a texture popularized by Arcangelo Corelli and also used by both Bach and Handel.
The Sinfonia in C Minor offers us a glimpse of Mendelssohn in his journeyman years, during which he absorbed musical styles and techniques with remarkable facility. The quality of the Sinfonia also raises the question of when we might mark the beginning of the composer’s maturity Whichever of the different answers to that question – and there are strong arguments for dating this to his Octet (composed at age 16) and Overture to A Midsummer Night’s Dream (age 17) – his Symphony in A Major, the “Italian Symphony” (age 24) must be a product of that maturity if only because it is close in style and sophistication to his Violin Concerto in E Minor, which he composed just a few years before his death at age 38. Compare, for example,
the similar willow-o-the-wisp quickness and lightness of the finale of the Symphony to that of the Concerto. They are one and the same in character and are demonstrations of the same Mendelssohnian stamp that he originally devised for his Midsummer Night’s Dream Overture.
The Violin Concerto, although a product of the mid-1840s is, still, more Classic than Romantic: not only are its movements cast in the clear forms of the late eighteenth century – sonata form, ternary form, and rondo or rondo-sonata form – but its treatment of the solo instrument resists the quality of virtuosity for virtuosity’s sake of, say, Paganini or Liszt. Instead, the violin of Mendelssohn’s Concerto partners with the orchestra in presenting and developing the thematic material throughout. Key features of Mendelssohn’s treatment of the forms and his writing for the violin further distinguish this piece. The entrance of the violin with the first movement’s main theme, rather than the orchestra, is a novel twist, as is the use of the violin cadenza to complete the retransition to the recapitulation. The use of violin pedals to introduce the first movement’s second theme, and of octaves and ondeggiando figures to vary the solo material in the second movement likewise distinguish Mendelssohn’s treatment of the solo violin. In the fleet-footed, scherzo-like finale, moto perpetuo passages and tremolo technique are, as mentioned above, do the crucial work of thematic development and variation rather than simply showcase virtuosity.
Mendelssohn himself gave the nickname “Italian” to his Symphony in A Major because of the music that he heard during his extended tour of Italy in 1830 and 1831. Already by February of 1831, he wrote to his sister Fanny that his “Italian symphony is making great progress,” but that he had yet to find suitable material for the slow movement. By the time he reached the southern city of Naples, he had completed a draft of the first movement, a manuscript copy of which exists in the library of the Naples Conservatory under the title of Concertino. The second-movement Andante would soon take its inspiration from a religious procession that he witnessed in Naples, and the finale is based on saltarello dances from Rome and Naples.
The sunny brilliance of the work bursts forth in the song-like violin melody of the opening theme against the staccato background of flutes, clarinets, bassoons, and horns. Mendelssohn integrated this cheery Italian sound with the contrapuntal technique he had mastered in his previous musical studies, so that the development section of the movement’s sonata form introduces a new theme in fugal imitation. The recapitulation bears our particular attention because reprised material is always varied upon its return, sometimes abbreviated and sometimes re-scored. In a coda, Mendelssohn brings back the development’s fugal theme, now in a minor key, before concluding the movement in major and fortissimo. The second movement, written in D minor, features a solemn-sounding modal
melody played in unisons by the woodwinds and violas over a walking pizzicato bass line. This forms the principal material of the opening section within a ternary form that evokes a ritual hymn within a sacred procession. The third movement offers, not the usual scherzo of a Romantic-era symphony, but a minuet tempo instead, and the overall form is a written-out version of the 18th-century minuet and trio. The second strains of both minuet and trio, however, could never be taken for their 18th-century antecedents because of their expansive and moody, developmental quality.
Mendelssohn called his finale a saltarello, which is an old Italian dance defined by its hopping dance steps (saltarello is the Italian word for “little hop”). Although the saltarello can be traced back to fifteenth-century courtly dancing, Mendelssohn would have encountered a much later folk version that featured either a solo dancer or a single couple, in which onlookers provided an accompaniment of singing with guitars and percussion as the dancers steadily quickened the tempo. The rapid triplets and fast tempo capture the enthusiastic vigor of this Italian folkdance. Within the sonata-form movement as a whole – which Mendelssohn, unusually, cast in A minor – the development section unfolds as a long, single crescendo, as if to suggest the gathering energy of the dancing.
We might take the “Italian” designation as evidence of Mendelssohn’s Romantic-era inclination toward program music, but this oversimplifies his approach. What is genuinely Romantic in his Italian Symphony is the exotic quality of its musical source material, but the piece is hardly programmatic in comparison, say, to Berlioz’s Symphonie Fantastique or the symphonic poems of Liszt. The religious process of the Mendelssohn’s second-movement Andante comes closest to programmatic depiction, but Mendelssohn’s designation for was inspired less by musical depiction than by the influence of music he heard in Italy. This is significant for understanding Mendelssohn’s unique place among composers of his time as strongly connected to the classical style of Haydn and Mozart, and to the genres and techniques of the Baroque, while also drawing upon a wide range of influences from his studies and travels.
Gregory Barnett ©
Building Your Legacy:
Make an Impact Through Your IRA
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Required Minimum Distribution:
Age 70 ½ or older with a Traditional or Roth IRA? You can directly transfer up to $100,000 annually from your IRA to MCO while reaping remarkable tax benefits. This transfer counts toward your Required Minimum Distribution (RMD) and offers you the unique advantage of not paying federal income taxes on it.
For more information about how you can make a gift that endures for future generations, contact Brittany Schroeder, Development Manager of Individual Giving, at Brittany@mercuryhouston.org.
*401(k), 403(b), SEP IRA accounts, and other retirement accounts do not qualify.
Kerson Leong
Violin
Kerson Leong has been described as “not just one of Canada’s greatest violinists but one of the greatest violinists, period” (Toronto Star). Forging a unique path since his First Prize win at the International Yehudi Menuhin Violin Competition in 2010, he continues to win over colleagues and audiences alike with “a mixture of spontaneity and mastery, elegance, fantasy, intensity that makes his sound recognizable from the first notes” (Le Monde).
His latest album, featuring the Britten and Bruch violin concertos with the Philharmonia Orchestra and Patrick Hahn for Alpha Classics, was released to widespread critical acclaim, including having been awarded ‘Editor’s Choice’ by Gramophone, ‘The Strad Recommends’ by The Strad, and the ‘Choc de Classica’ by Classica as well as five-star recommendations from the Sunday Times and Diapason among others.
His 23/24 season includes solo performances with the Arkansas Symphony, Baton Rouge Symphony, Hamilton Philharmonic, Winnipeg Symphony, Regina Symphony, La Sinfonia de Lanaudiere, I Musici de Montreal and Violons du Roy. Recent season highlights include solo performances with such ensembles as the Royal, Oslo, Brussels, Kansai, and Liège Royal Philharmonic Orchestras, the Seattle, Singapore, Toronto, Istanbul, Toledo, Montreal, Tucson, Bilkent, and Wuppertal Symphony Orchestras, a tour of Sweden with the Camerata Nordica, a recital tour of the Midwestern United States, and recording John Rutter’s Visions with the
composer himself and the Aurora Chamber Orchestra, after giving its world premiere in London, UK.
As a sought-after soloist, he was hand-picked by Yannick Nézet-Séguin to be his artist-inresidence with the Orchestre Métropolitain during the 18/19 season and has performed in such prestigious venues as Carnegie Hall’s Stern Auditorium, Wigmore Hall, the Auditorium du Louvre and the National Center for the Performing Arts in Beijing. As a passionate chamber musician, he has performed at such international festivals and concert series as the Verbier Festival, Rheingau Musik Festival, Gstaad Menuhin Festival, Festspiele MecklenburgVorpommern, Flâneries musicales de Reims, and Bergen International Festival among others.
Passionate about pedagogy and music outreach, he has been invited to give masterclasses and teach at various festivals and universities including the Indiana University Jacobs School of Music, the Sibelius Academy in Helsinki, the Gustav Mahler Academy, the Domaine Forget Festival Academy, the University of Ottawa, and Dalhousie University among others. Fostering a significant audience away from the concert hall as well, he is cementing his noteworthy role in reaching young people, aspiring musicians, and potential music lovers alike with his art in creative and engaging ways on social media. He is an associate artist of the Queen Elisabeth Music Chapel in Belgium, where he was mentored by Augustin Dumay.
He has always been keen on making connections between music and other fields. Ever since his dad started introducing him to physics concepts about string resonance, they have strongly influenced his playing and philosophy on sound production. Together with his dad, he has given lectures about this subject in places such as the Central Conservatory of Music in Beijing, the Barratt-Due Music Institute in Oslo, and various universities in California.
Kerson performs on the ‘ex Bohrer, Baumgartner’ Guarneri del Gesu courtesy of Canimex Inc, Drummondville (Quebec), Canada.
EDUCATION & COMMUNITY ENGAGEMENT
Mercury begins each season with its annual free community concert at Miller Outdoor Theatre over Labor Day Weekend. This year, over 5,000 Houstonians came together to experience a lively Baroque program, “Vivaldi & Telemann,” featuring recorder virtuoso Vincent Lauzer.
As we approach the end of the school year, Mercury’s musicians are gearing up for our annual in-school Spring tour to numerous schools in Houston ISD and neighboring districts, engaging with and inspiring over 5,000 students. This year we will be presenting our “It’s All Relative” show, focusing on prominent scientists and their contributions as well as the music they would have heard during their lifetime.
In addition, our teaching artists are preparing for end-of-year performances. Principal Violist Kathleen Carrington, cellist Daphnee Johnson and their ninety young musicians from Scarborough Elementary will play crowd favorites like Twinkle Variations and Suzuki’s Allegro, while at The Edison Arts Center our newest teaching artist, Ricardo Jiménez, is working with his group on a special arrangement of Michael Jackson’s Thriller. On behalf of all teaching artists and Mercury’s education manager, we want to give a giant thank you to all young musicians, parents, and school administrators for trusting us to provide a nurturing and enriching musical experience to all who participate in our programs.
Mercury addresses educational needs by providing access to high-quality music education through in-school residencies which offer private lessons, coaching, mentorship, and group instruction to underserved students within the community.
By linking to school curriculum and standards, Mercury’s in-school performances serve as a dynamic learning platform, covering a diverse array of topics through the medium of music.
Mercury performing at Miller Outdoor Theatre
Mercury’s in-school residency
55 IN-PERSON CONCERTS ANNUALLY
10 AT-HOME BROADCASTS
$1.7 M
ANNUAL OPERATING BUDGET
21,750
AUDIENCE MEMBERS IN 2023-2024
118 ARTISTS ENGAGED
12+
PUBLIC SCHOOLS SERVED THROUGH EDUCATION PROGRAMS
91%
SUBSCRIPTION RENEWAL RATE
10,913
SOCIAL MEDIA FOLLOWERS
4,500+
PUBLIC SCHOOL STUDENTS ENGAGED
COUNTRIES REACHED BY STREAMING
SINGAPORE
MISSIOn
Celebrating the power of music through teaching, sharing, and performing with passion, intimacy, and excellence.
VISION
• Be the most welcoming and innovative arts institution in Houston.
• Become an exemplary period instrument ensemble for the Nation.
• Transform the lives of a diverse audience through music.
ANTOINE PLANTE
ARTISTIC
DIRECTOR, LYNN WYATT CHAIR
Praised for his conducting vigor and innovative programming, Antoine Plante has captivated audiences and musicians alike with his ability to bring music to life. Charles Ward of the Houston Chronicle lauded him for leading “an impressive account of the Mozart’s Requiem: authoritative, vigorous, emotionally intense, at times utterly gripping.”
As the founder of Mercury Chamber Orchestra in Houston, Texas, Plante has played a pivotal role in the orchestra’s remarkable growth over its 24-year history. Known for his skillful programming of great classical works like Mozart’s 41st Symphony and Mendelssohn’s Reformation alongside lesser-known gems, he has helped Mercury gain a rapidly growing audience. In 2022, he further extended Mercury’s artistic reach by founding the Mercury Singers, the orchestra’s vocal ensemble.
A versatile conductor, Plante excels across a wide repertoire. Equally at home with romantic and modern composers, he also specializes in performing classical and baroque works with period instruments. His expertise extends to staged productions, having conducted numerous operas and ballets. In collaboration with French director Pascal Rambert, Plante produced a modern, critically acclaimed staging of Lully’s Armide in Paris and Houston. He also worked with Dominic Walsh Dance Theater to create the score for Walsh’s ballet Romeo and Juliet. His innovative spirit shone in the multimedia creation of Loving Clara Schumann, a fully staged work featuring orchestra, dancers, and vocal soloists in a compelling dramatic performance.
Plante is a passionate advocate for classical music education. He leads Mercury’s educational outreach program, which brings classroom music education to underserved schools, offers master classes for student orchestras, and provides live performances for schoolchildren.
Under Plante’s leadership, Mercury has grown into a vital cultural institution in Houston, presenting over 40 concerts per season in a variety of venues, making music accessible to the entire community.
Plante has served as guest conductor for esteemed ensembles, including the San Antonio Symphony, Oregon Bach Festival Orchestra, Chanticleer, Houston Grand Opera, Ecuador National Symphony Orchestra, and Atlanta Baroque.
Antoine Plante grew up in Montréal, Québec, Canada and lives in Houston, Texas.
THE MERCURY-JUILLIARD FELLOWSHIP 2024/2025 FELLOWS
This initiative, a collaboration between The Juilliard School of Music Historical Performance Program and Mercury Chamber Orchestra, encourages the development of talented young instrumentalists and fosters a strong relationship between two major players in America’s period instrument performance scene.
Each spring, Mercury holds auditions at Juilliard, selecting two post-graduate students to participate in a one-year fellowship with the ensemble. Fellows will perform with Mercury during the season, gaining valuable performance experience while introducing Houston to the next generation of great period performance musicians.
Ryan Cheng
Violin
Cristina Prats-Costa
Violin
MERCURY’S 2025 GALA
February 28 | Thompson Hotel
Mercury’s 2025 Gala, Moonlight Serenade: A Night at a 1950s Supper Club, was a tremendous success, raising $220,000 after expenses to support Mercury’s concerts and education programs.
Chaired by Ally Shell and Martijn van Koolwijk, the event at the Thompson Houston transported guests to the golden age of swing with an unforgettable night of big band jazz. We are incredibly grateful to our sponsors and guests for their generous support.
Photo Credits:
1. Ally Shell & Martijn van Koolwijk (Gala Chairs). 2. Antoine Plante (Artistic Director) & Houston Jazz Orchestra. 3. Brittany Wetterer, Stacey Lindseth, & Kendra Smith. 4. Sarah Prudhomme and Ally Shell (Gala Chair). 5. Donae Chramosta, Sarah Leftwich, & Kim Padgett. 6. Brian Ritter (Executive Director), Steve Barth (Board President), June Barth, & Antoine Plante (Artistic Director). 7. Jimin Kim, Brennan Owen, Gabby Owen, Kenny Owen, Martin Mathus, Tara Merchan, Francisco Merchan, Antoine Plante. 8. Jen Grigsby, Kimberly Rawlins, Anna Winter, Vanessa Weeke, Sherry Weiner. 9. Lloyd Kirchner, Amy Waldorf, Chree Boydstun, & Lisa Bordelon. 10. Shane & Marissa Gilroy.
Mercury Chamber Orchestra gratefully recognizes the individuals, corporations, and businesses whose participation in the 2025 Gala—through sponsorships, ticket purchases, auction donations, and creative partnerships—supports our artistic, educational, and community programs. For more information, please contact Chloe Bruns, Development Manager, Institutional Giving, at chloe@mercuryhouston.org or 713-533-0080.
Gala Sponsors
Count Basie
June & Steve Barth
Duke Ellington
ConocoPhillips
de Boulle Diamond & Jewelry
Gaby & Kenny Owen
Lori Muratta & Antoine Plante
Ally Shell & Martijn van Koolwijk
Billie Holiday
Cris & Bill Jonson
Glenn Miller
Acretio Consulting & Investments
Marsha & Michael Bourque
Meghan & Kevin Downs
Sofia & Tyler Durham
Martha & Blake Eskew | Julie & Keith Little
Marcia & Tom Faschingbauer
Marissa & Shane Gilroy
Haynes Boone
Kirsten Jensen & David Kerley
Amy Waldorf & Lloyd Kirchner
Stacey & Al Lindseth
Neal Hamil Agency
OneLNG Inc.
Mariela & Luis Perez
Jenn Pinkerton & Michelle Reyna
German & Bonnie Ramirez
Weiner & Gardner
Ticket Purchasers
VIP Tickets
Mary Foster & Don Desimone
Kristine & Stephen Wallace
Betsy & Rick Weber
Tickets
Annette & Knut Eriksen
Rebecca Fieler
Diane McKernan & Forrest Lumpkin
Tatiana & Craig Massey
Carol & Joel Mohrman
Duyen & Marc Nguyen
Chris Prause
Taylor Smith
Tatiana Sorkin & Michel Coret
Ana Treviño-Godfrey
Ruben Treviño
Andrea & Paul Yatsco
Creative Partners
Auction & Event Solutions
BEND Productions LLC
Graphic Design by Melanie O’Neill
Houston Jazz Orchestra
Jacob Power Photography
Johnny Bravo Entertainment
Mittera Printing
Neal Hamil Agency
Pinnacle Live Swift + Company
Thompson Houston, by Hyatt
Auction Donors
à bientôt
The Accessory Place
Alchemia
Alley Theatre
Al’s Handmade Boots
Andrés González & Oleg Sulyga
Antoine Plante & Lori Muratta
Arched Beauty Architechs
Archway Gallery
Ars Lyrica Houston
Asia Society Texas
Bayou City Art Festival
Big Island Little Cheese Shoppe
Birraporetti’s
Camp Aspen
Casa Angelina
Children’s Museum Houston
Christopher Michael Hair Studio
Christy Lynn
Club Pilates
Cocody
DACAMERA
de Boulle Diamond & Jewelry
Dominey Scott Designs
Elizabeth Waggett Art
Fairytale Photography Studio Festari for Men
Fondren Library at Rice University
Fritz McDonald
The Goff Financial Group
Golden
Hal Martin’s Watch & Jewelry
Hamilton Shirts
HANDO
Hermann Park Conservancy
High Oaks Ranch
The Hobby Center for the Performing Arts
Houston Arboretum & Nature Center
Houston Ballet
Houston Cinema Arts Society
Houston Grand Opera
Houston Museum of Natural Science
Houston Symphony
Houston Zoo
J. McLaughlin River Oaks
Janette Masten Gardner
Jeremy Parzen/Martha and Blake Eskew
Keith & Julie Little
Kenny Owen
Kevin & Meghan Downs
LeMel
Lululemon
Maida’s Belts and Buckles
Mercury Chamber Orchestra
My Fit Foods
Nice Winery
Opera Leggera
Performing Arts Houston
Porsche Sugar Land
Prelude Music Classes for Children
RIDE Indoorcycling
River Oaks Theater/Leo’s
Rockin Star Ranch
ROCO
ROMA
Sandal Gap Studio
Shepherd School of Music at Rice University
SOPO
Space Center Houston
STAGES
Stephen & Kristine Wallace
The Style Concierge
Style It With Brit
Tootsies
Uchi
Vintage Contessa & Times Past
Westwood Golf Club
Yoga with Arely
Zach & Molly Hester
six saxophones
October 13, 2024
Sunday, 5 pm
Century Square, College Station
flute, violin, bassoon, cello, guitars, bass, harpsichord
November 10, 2024
Sunday, 5 pm
First Presbyterian Church
THE STRING QUEENS
BACH TO BRAZIL
March 22, 2025
Saturday, 5 pm
A&M United Methodist Church
HAYDN, SHAW, BEETHOVEN
April 6, 2025
Sunday, 5 pm
St. Thomas Episcopal Church
Friends of Chamber Music’s World Cultural Heritage Composition at the violin, viola, cello
February 1, 2025
Saturday, 5 pm
A&M United Methodist Church
April 20, 2025
Sunday, 4:30 pm Rudder Theatre
fcmtx.org
Mercury’s Patron Society recognizes individuals making annual leadership gifts of $2,500 or more. Patron Society members receive complimentary valet parking at Downtown concerts, Green Room access at intermission and after the concert, invitations to private concerts and events, and other exciting benefits.
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Photo Credits:
Stephen Voss, Lori Muratta, Dana Dilbeck, Valerie Cramer. 2. Dee Kreft, Michael & Gayle Collins, Maggie Kolanski. 3. Keith & Julie Little.
Michael & Marsha Bourque, Stephen Voss.
Steve & June Barth, Jonathan Godfrey. 6. Dr. Courtney Williams, Lori Muratta. 7. Martha Eskew, Robert Navo, Ginny Hart, Blake Eskew.
Cris & Bill Jonson, Neil Sackheim, Andrew Sackheim.
PATRON SOCIETY
Mercury Chamber Orchestra gratefully recognizes the following individuals for their leadership support of our artistic, educational, and community engagement programs through generous annual gifts and participation in special events. For more information about joining the Patron Society, please contact Brittany Schroeder, Development Manager, Individual Giving at brittany@mercuryhouston.org or 713-533-0080.
PLATINUM PATRON SOCIETY
($25,000 and above)
June & Steve Barth*
Patricia Branton & William Gould*
Cristela & Bill Jonson
Dr. & Mrs. Christopher Prince*
Kristine & Stephen Wallace*
Lynn & Oscar Wyatt
Anonymous
GOLD PATRON SOCIETY
($15,000-$24,999)
Mollie & Wayne Brunetti*
Martha & Blake Eskew*
Mariko & John Jordan*
Mrs. Warren Kreft*
Rosemary Malbin*
Rose Ann Medlin & William E. Joor III*
Gaby & Kenny Owen*
Kelly & David Rose*
Ally Shell & Martijn van Koolwijk
SILVER PATRON SOCIETY
($10,000-$14,999)
Donna & Mike Boyd*
Marcia & Thomas Faschingbauer*
Rebecca Fieler*
Mary Foster & Don DeSimone*
Kirsten Jensen & David Kerley*
Lloyd Kirchner*
BRONZE PATRON SOCIETY
($5,000-$9,999)
Marsha & Michael Bourque*
Joe & Kim Caruana
Robert N. Chanon*
Kevin & Meghan Downs*
Sofia & Tyler Durham
Marissa & Shane Gilroy
Peter & Chris Godfrey
Virginia Hart & Robert Navo*
Julie & Keith Little*
Carol & Joel Mohrman*
Neil Sackheim & Stephen Voss*
Robert Sartain*
Linda & Tom Sparks
Ralf van der Ven
Nina & Michael Zilkha*
Anonymous*
PATRON SOCIETY
($2,500-$4,999)
Thomas Bevilacqua & Karen Merriam*
Mary Kay & Walter Mark Buehler
Mindy & Josh Davidson*
Carmen Delgado & Duane C. King*
Nan Earle*
Marilyn & Bill Eiland*
Caroline Freeman
Nancy & Carter Hixon*
Janice & Tim Howard*
Nick Jameson
Lili & Hans Kirchner*
Forrest Lumpkin*
Angelika & Michael Mattern*
Thomas Bevilacqua & Karen Merriam*
Dr. Maureen O’Driscoll-Levy
Ruth & Michael Pancherz*
Melissa Patin*
Jackie & Roy Perry
Lalana Pundisto & Michael Fortwengler*
Lisa Rich & John McLaughlin
Andrew J. Sackheim*
Sasha Van Nes* & James E. Smith
Jan & Christine Spin
Ann Tornyos*
Amy Waldorf
Betsy & Rick Weber
Douglas & Carolynne White*
Courtney Williams MD*
As of March 14, 2025
*Indicates a Mercury Season Subscriber
Annual Support
Mercury Chamber Orchestra gratefully recognizes the following individuals who support our artistic, educational, and community engagement programs through generous annual gifts and participation in special events. For more information, please contact Brittany Schroeder, Development Manager, Individual Giving at brittany@mercuryhouston.org or 713-533-0080.
BENEFACTORS
($1,000-$2,499)
Dr. Thomas Beach*
James & Barbara Becker
John Robert Behrman*
Dr. Joan H. Bitar*
The Carl & Phyllis Detering Foundation
Dr. Bill & Sharon Donovan
Annette & Knut Eriksen
Gary Gardner & Peg Palisin*
Leonard Goldstein & Helen Wils
Nancy & Michael Henderek
Capital Builders
Shannon & Jamie Mann
Lalana Pundisto & Michael Fortwengler*
Paul & Andrea Yatsco
SUPPORTERS
($500-$999)
Joel Abramowitz & Rita Bergers*
Jessica & Jay Adkins
Clarruth Seaton & Greer Barriault
D. Bentley*
Melinda & William Brunger
Dr. Caroline Christensen
Zed Choi
Connie & James Garson*
Deborah Lugo & Andrés González
Molly & Hugh Rice Kelly*
Mary & Rodney Koenig
Petter Madsen
Bert Medley & Susan Taylor
Candice & Roger Moore*
Steve & Elaine Roach*
Tricia & Steve Rosencranz
Merry Schooley
Penny & Sean Lewis*
Jonathan Godfrey & Ana Treviño-Godfrey*
Chuck Bracht & Cheryl Verlander
Deborah M. Wagner*
Amy Waldorf
Trey Wilkinson
Anonymous
DONORS
($150 - $499)
Raju Adwaney*
Margaret Preston & Robert Baumgartner*
Drs. Yvonne Chen & Brandon Bell
Dr. Jerry L. Bohannon*
Becky Browder*
Rustin Buck*
C. Robert Bunch*
Barbara & Jim Carney
Yun Shin Chun
Gilbert Cote*
Chris & Delia Cowles*
Valerie Cramer*
Benée & Chris Curtis*
Dana Dilbeck*
Risha & Patrick Dozark
Frank & Mariam Dumanoir
Corey Eickenloff*
Rev. Paul F. English
Mr. & Mrs. Peter Ferenz*
Sydney Free*
Leslie Gassner
Vernon Gillette*
Dennis Griffith & Louise Richman
Dr. Tamara Miner Haygood*
Richard & Ruth Hirschfeld
Anne Houang
Shane Hudson*
Brad & Alida Johnson*
Michele Joy & Tom Shahriari
Allen Karger*
Cheryl M. Katz
Frank & Lynda Kelly*
Dennis & Casey Kiley*
Georgia & Stephen Kimmel*
Victoria & Alex Lazar
Mrs. Laura Leib*
Eli Levinowitz
Jim & Ellana Livermore*
Juan Ignacio Mangini
Nancy Wynne Mattison*
John H. Meltzer*
Kenneth Moore Jr.*
Steve & Kerry Morby
Robb & Audrey Moses
Joan OLeary
Linda Pancherz*
Will & Emily Perry
Patricia Rathwell*
Natalie Riley
Ed & Janet Rinehart*
Elena Lexina & Brian Rishikof
Melanie L. Rogers*
Robert & Rosanne Romero*
Dorry Shaddock*
Carol & Tom Sloan*
Richard & Joan Spaw*
Carolyn & Arthur Thompson*
Lindsey & Cory Vanarsdel*
Beatriz & Peter Varman*
Mrs. Jovan Popovich*
Andrew Wallace
Adriana Wechsler & Patrick Kelly*
The Cruz-Wiley Family
Elizabeth D. Williams*
Dr. Robert K. Wimpelberg & Peter Hodgson*
Martha & Richard Wright*
Tom Young & Steve Nall
Anonymous (4)
FRIENDS
(up to $149)
Vanessa Abahashemi
Keith Anthis
Tonia Ayres
Lesly Barrientos
Ann Behravesh
Daniel Biediger*
Dr. Sarah J. Bottomley
Kathy & Walker Brickey*
Wm. F. Brothers, Jr.*
Leslie Brown
Michael & Michaele Brown*
Bronwyn Campbell*
Claudia Castillo
Alex
Camille Converse
Roseline et Karl
Steven Cowart
Erick Cruz
Lesa Curry
Allan & Bente Davies
Julietta Ducote
Todd & Emma Edwards*
Kellie Ekeland
John & Judith Fagg
Mark & Alicia Filley
Karen Findling
Chalon Fontaine
Laurent Fouilloud-Buyat
Miguel Fuentes
Terry Gardner
Judith Gersh
Guillermo Gomez Aguilar
Gail Gould
Mark Happe
Mark Hempton
Richard Hickman
Lai Ho
Mark Hoose*
Luke Howe*
Brian Knapp*
Weldon Kuretsch*
Kimberly Leishner
Lisa Marcelli
David & Mary Jo Martin
Rebecca Novelo
Rebecca Marvil
Yvette Mayes
The Miller Family
Susan Moore
Ana Chacon Morales
Dr. Stacy & Mr. Ronan O’Malley
Carol & Barry Myones
Ugochukwu Onochie
Julie & Chip Oudin*
Janwin Overstreet-Goode & John Goode
Jehan-Francois Paris*
Jose Pastrana
Maria Olga Patino
Tim & Robin Phillips
Ava Plummer*
Maria-Martha Powell
The Power Family
Patricia de Groot & Marc Puppo*
Jorge M. Rivas
Jim Robin*
Stephen Ronczy*
Terri Siegel
Carlton Singleton
Barbara & Michael Smith
Claudia Soler Alfonso
Tyler Starkel
Meredith & Ralph Stone
Mary Anne Stoner
Barbara J. Taake*
Artem Tarasenko
Migdalia Trevino
Eleanore Tyson
Mary & Chan Tysor
Katherine Vukadin
Kent & Bonnie Whitten
Kathleen Wilson
Jim Winn
Edith A. Wittig
John & Helena Zodrow
Anonymous (69)
*Indicates a Mercury Season
Subscriber
As of March 24, 2025
GIFTS IN HONOR OR MEMORIAL
Drs. Yvonne Chen & Brandon Bell, in honor of Meghan & Kevin Downs
Barbara & Jim Carney, in honor of Betty Jo Diller
Lesa Curry, in honor of Ana Treviño-Godfrey & Jonathan Godfrey
Carl A. Detering Jr., in honor of J. Michael Boyd
Dr. Bill & Sharon Donovan, in honor of Patrick Donovan
Rev. Paul F. English, in honor of Fr. John F. Robbins, CSB
Laurent Fouilloud-Buyat, in honor of Christian Fouilloud-Buyat
Gail Gould, in memory of Steven Friedlander
Nick Jameson, in memory of Karin Fliegel Jameson
Rosemary Malbin, in loving memory of Michael Malbin
Lisa Marcelli, in memory of Stephen H. Friedlander
The Miller Family, in memory of Sheldon Miller
Mrs. Audrey Moses, in honor of Robb Moses
Will & Emily Perry, in honor of Kenny & Gaby Owen
The Power Family, in memory of Rosemary Power
Patricia Rathwell, in honor of Mark Rathwell
Robert Sartain, in memory of Margaret A. Reinke
Andrew Wallace, in honor of Stephen Wallace
Trey Wilkinson, in memory of Vey Spin
Tom Young & Steve Nall, in honor of Simone Plante
John B. Zodrow, in honor of The Kirchner Family
Anonymous, in honor of Chandrakanta
We greatly appreciate each gift and have made every effort to ensure the accuracy of this listing. Please notify us of any inaccuracies or omissions at help@mercuryhouston.org.
Foundations, Corporate, and Government Support
Mercury Chamber Orchestra gratefully recognizes the following foundations, corporations, and government entities that support our artistic, educational, and community engagement programs through generous annual grants and sponsorships. For more information, please contact Chloe Bruns, Development Manager, Institutional Giving at chloe@mercuryhouston.org or 713-533-0080.
CONDUCTOR’S CIRCLE
($75,000 +)
Houston Endowment Inc.
Anonymous
CONCERTMASTER’S CIRCLE
($50,000 - $74,999)
The Brown Foundation, Inc.
The Cullen Trust for the Performing Arts
PLATINUM CIRCLE
($25,000 - $49,999)
ConocoPhillips
Houston Arts Alliance
Texas Commission on the Arts
The Wyatt Foundation
GOLD CIRCLE
($15,000 - $24,999)
De Boulle Diamond & Jewelry
Miller Outdoor Theatre Advisory Board
National Endowment for the Arts
Shell Oil Company Foundation
SILVER CIRCLE
($10,000 - $14,999)
Adell, Harriman, & Carpenter, Inc.
Lucius & Eva Eastman Fund
The Albert and Ethel Herzstein
Charitable Foundation
The Sartain & Tamez Family Trust Fund at the Chicago Community Foundation
South Coast Terminals
Western Midstream SLT
BRONZE CIRCLE
($5,000 - $9,999)
Acretio Consulting & Investments
Arts Connect Houston
Bp Foundation
Chevron
Citi
ExxonMobil Foundation
Haynes Boone
Mexcor International
Neal Hamil Agency
OneLNG Inc.
Platform Partners
Spotlight Energy, LLC
Truist
Vortex Companies
Your Mercury Experience
Etiquette
Out of respect for the musicians and your fellow audience members, please be sure to silence your mobile devises and refrain from texting or talking during the performing. Disruptive patrons will be asked to leave.
Late Seating
Late seating is often available during the first convenient break in the performance and is always at the discretion of the ushers. Always allow plenty of time for traffic, parking, and getting to your seat.
Devices
Recording of Mercury performances by camera, audio, or video equipment is prohibited. You are welcome to take pictures before or after the orchestra performs. Please share your experience on social media.
Food & Beverage
At our venues, outside food and drink are not allowed. Wortham Center performances have food and beverages for sale in the Grand Foyer and Prairie Lobby. Drinks may be brought into the Cullen Theater for the performance.
Tickets
Subscribers may exchange their tickets to any performance at no cost. Single tickets are not eligible for exchange or refund. If you are unable to make a performance, your ticket may be donated prior to the concert for a tax-donation receipt. Donations and exchanges may be made in person, over the phone, or online.
Follow us!
@mercuryhouston
Mercury is funded in part by grants from the City of Houston and Harris County through the Houston Arts Alliance and the Texas Commission on the Arts.
Administrative Offices
2900 Weslayan Street, Suite 500
Houston,
Phone: 713.533.0080
Hours: 9 AM – 5 PM Monday-Friday
www.mercuryhouston.org
Special event
Divine Voices
Houston Saengerhalle
1703 Heights Blvd
May 3 • 8 PM
A collaboration between Mercury and Musiqa featuring the music of Portuguese Renaissance composer Vicente Lusitano along with three world premieres commissioned for this event.
Mercury Board and Administrative Team
Board OF DIRECTORS
Steve Barth President
Keith Little Treasurer
Rebecca Fieler Secretary
Blake Eskew Immediate Past President
Antoine Plante Artistic Director
Brian Ritter Executive Director
Mark Berry
Marsha Bourque
Kevin Downs
Sofia Durham
Marcia Faschingbauer
Shane Gilroy
Bill Guest
Ginny Hart
Kirsten Jensen
Lloyd Kirchner
Forrest Lumpkin
Rose Ann Medlin
Kenny Owen
James E. Smith
Ana Treviño-Godfrey
Ralf van der Ven
Stephen Wallace
Lynn Wyatt
Special Advisor
Administrative Team
Antoine Plante Artistic Director, Lynn Wyatt Chair
Brian Ritter Executive Director
Chloe Bruns Development Manager, Institutional Giving
Brittany Schroeder Development Manager, Individual Giving
Nicholas Gerling Box Office Manager
Katie DeVore
Operations Manager
Matthew Carrington Personnel Manager & Music Librarian sponsored by Rebecca Fieler
Andrés González Education Manager
Ryan Barrett Rachel Piero Stage Managers
Sectorlab LLC Marketing Consultant
Tyler Starkel YPTC Accountant
BEND Productions and Ben Doyle Videography
Melissa Taylor Graphic Designer