San Antonio Philharmonic 2023-24 Classics 1 Program Guide

Classics 1

Program Guide

Chee-Yun and The Firebird Jeffrey Kahane - Conductor

Adelante Juntos!

Forward Together

Welcome to an extraordinary time in our history.

Where musicians have set the course to share their art with you and for future generations to come. Venturing boldly with purpose, the San Antonio Philharmonic is committed to inspire with a profound sense of community. Some, beholding this spectacle, may hail it with thunderous applause, while others, stirred to their core, are impelled towards resolute action.

We recognize and value the immeasurable impact of those who stand beside us, offering unwavering support and encouragement. To all who have lent their unwavering belief and steadfast presence, we extend our heartfelt gratitude. It is through their collective strength that we find the resilience to author our own unique comeback story.

For it is in the face of adversity, where life's most captivating stories unfold. The triumphs that emerge from the depths of struggle, the victories carved out from the shadows of defeat— these are the narratives that inspire, that resonate, and that stand the test of time. They are the chapters that showcase the indomitable human spirit and remind us of our boundless capacity for growth and transformation.

Together, we shall inscribe a legacy that generations to come will marvel at and draw inspiration from—a testament to the power of unwavering determination and the beauty of the human pursuit. Let us cultivate a Philharmonic that not only enriches our community but also cherishes its musicians, fostering a deep sense of value and appreciation.

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Roberto Treviño, Executive Director

Program September 22 & 23, 2023, 7:30 p.m.

Jeffrey Kahane, conductor Chee-Yun, violin

Mariachitlán

Juan Pablo Contreras (b. 1987)

Symphonie espagnole, Op. 21 Allegro non troppo Scherzando: Allegro molto Intermezzo: Allegretto non troppo Andante Rondo

Édouard Lalo (1823-1892)

Chee-Yun, violin Intermission Igor Stravinsky Suite from The Firebird (1945) (1882-1971) Introduction Prelude, Dance of the Firebird, & Variations Pantomime I Pas de deux Pantomime II Scherzo (Dance of the Princesses) Pantomime III Rondo Infernal Dance Lullaby (Berceuse) Final Hymn

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Orchestra Flute Douglas DeVries, Principal Julie Luker, Assistant Principal Rachel Woolf

Oboe Mayu Isom, Principal Deana Johnson, Assistant Principal Clarinet Ilya Shterenberg, Principal Ivan Valbuena Paez, Assistant Principal Bassoon Brian Petkovich, Principal Nicole Haywood, Assistant Principal Horn Peter Rubins, Principal Catherine Dowd Russell Rybicki, Assistant Principal Erin Amendola Trumpet John Carroll, Principal Lauren Eberhart, Assistant Principal Trombone Steve Peterson, Principal Erik Anderson, Assistant Principal Simon Lohmann Tuba Lee Hipp, Principal Timpani Peter Flamm, Principal Percussion Riely Francis, Principal Sherry Rubins, Assistant Principal & Personnel Manager Paul Millette Keyboard Vivienne Spy

Harp Rachel Ferris, Principal Violin I Sandy Yamamoto, Concertmaster Rainel Joubert, Assistant Concertmaster Craig Sorgi Philip Johnson Bassam Nashawati Stephanie Westney Beth Johnson Pedro Antonio Amy Venticinque Laurel Lawshae Violin II Mary Ellen Goree, Principal Karen Stiles, Assistant Principal Judy Levine-Holley Julie Post Eva Weber Jackson Mankewitz Ryan Coppin Kevin Mendoza Viola Allyson Dawkins, Principal Marisa Bushman, Assistant Principal Amy Pikler Beverly Bias Chris Gokelman Bethany Turriff Cello Kenneth Freudigman, Principal Barbara George, Assistant Principal Ignacio Gallego Kelsey Sexton Megan Swisher Lynda Verner Bass David Milburn, Principal Zlatan Redzic, Assistant Principal Steven Zeserman James Chudnow Librarian Allison Bates, Principal

Jeffrey Kahane Program Notes JEFFREY KAHANE Conductor

Equally at home at the piano or on the podium, Jeffrey Kahane is recognized around the world for his mastery of a diverse repertoire ranging from Bach and Mozart to the music of our time.

Mr. Kahane has appeared as soloist with major orchestras such as the New York Philharmonic, Cleveland Orchestra, Los Angeles Philharmonic, Philadelphia Orchestra and the Chicago and San Francisco symphonies among many others and is also a popular artist at all of the major US summer festivals, including Aspen, Blossom, Caramoor, Mostly Mozart and Ravinia. in August 2016, he was appointed Music Director of the Sarasota Music Festival and he served as the orchestra’s Artistic Advisor for two seasons.

Since making his Carnegie Hall debut in 1983, he has given recitals in many of the nation’s major music centers including New York, Chicago, Boston, San Francisco and Los Angeles.

A highly respected chamber musician, Mr. Kahane collaborates with many of today’s most important chamber ensembles and was the Artistic Director of the Green Music Center’s Chamberfest during the summers of 2015 and 2016.

Jeffrey Kahane made his conducting debut at the Oregon Bach Festival in 1988. Since then, he has guest conducted many of the major US orchestras including the New York and Los Angeles Philharmonics, Philadelphia and Cleveland Orchestras, Saint Paul Chamber Orchestra, and the Chicago, Detroit, St. Louis, Baltimore, Indianapolis and New World symphonies among others. In May 2017 Mr. Kahane completed his 20th and final season as Music Director of the Los Angeles Chamber Orchestra. He served as the Music Director of the Colorado Symphony from the 2005/06 season through the 2009/10 season and for ten seasons was Music Director of the Santa Rosa Symphony, where he is now Conductor Laureate. He has received much recognition for his innovative programming and commitment to education & community involvement for all three orchestras and received ASCAP Awards for Adventurous Programming for his work in Los Angeles and Denver.

During his highly successful tenure with the Los Angeles Chamber Orchestra, he spearheaded the creation of many new initiatives, including Westside Connections, a chamber music series that brings together LACO musicians and guest artists with speakers from a wide range of disciplines; Baroque Conversations, which presents chamber and orchestral music of the 17th and 18th centuries with spoken program notes and audience Q and A; “Discover” concerts, evenings devoted to the exploration of a single work involving an hour long lecture with the orchestra on stage, followed by a complete performance; and Sound Investment, a commissioning club whereby for a modest investment, LACO patrons can participate in the commissioning of a major new work and interact with the composer from the very first stages of its conception to the performance. Between this program and the regular commissioning of new pieces, over 50 works were given their premieres by LACO during Mr. Kahane’s tenure. He is now the orchestra’s Conductor Laureate.

A native of Los Angeles and a graduate of the San Francisco Conservatory of Music, Mr. Kahane's early piano studies were with Howard Weisel and Jakob Gimpel. First Prize winner at the 1983 Rubinstein Competition and a finalist at the 1981 Van Cliburn Competition, he was also the recipient of a 1983 Avery Fisher Career Grant. An avid linguist who reads a number of ancient and modern languages, Mr. Kahane received a Master’s Degree in Classics from the University of Colorado at Boulder in 2011. He is currently a Professor of Keyboard Studies at the University of Southern California Thornton School of Music. He resides in Los Angeles with his wife, Martha, a clinical psychologist in private practice. They have two children - Gabriel, a composer, pianist and singer/songwriter and Annie, a dancer and poet.

Chee-Yun

CHEE-YUN Violinist

Violinist Chee-Yun's flawless technique, dazzling tone, and compelling artistry have enraptured audiences on five continents. Charming, charismatic, and deeply passionate about her art, Chee-Yun continues to carve a unique place for herself in the ever-evolving world of classical music.

A winner of the Young Concert Artists International Auditions and a recipient of the Avery Fisher Career Grant, Chee-Yun has performed with many of the world's foremost orchestras and conductors. She has appeared with the San Francisco, Toronto,Pittsburgh, Dallas, Atlanta, and National symphony orchestras, as well as with the Saint Paul and Los Angeles Chamber Orchestras. As a recitalist, Chee-Yun has performed in many major U.S. cities, including New York, Chicago, Washington, Los Angeles, San Francisco, and Atlanta.

In 2016, Chee-Yun performed as a guest artist for the Secretary General at the United Nations in celebration of Korea's National Foundation Day and the 25th anniversary of South Korea joining the UN. In 1993, Chee-Yun performed at the White House for President Bill Clinton and guests at an event honoring recipients of the National Medal of the Arts.

Recent highlights include her appearance with the Milwaukee Symphony Orchestra, as well as her collaboration with acclaimed guitarist Mak Grgić.

Her most recent recording, Serenata Notturno, released by Decca/Korea, is an album of light classics that went platinum within six months of its release. In addition to her active performance and recording schedule, Chee-Yun is a dedicated and enthusiastic educator. Her past faculty positions have included serving as the resident Starling Soloist and Adjunct Professor of Violin at the University of Cincinnati College-Conservatory of Music and as Visiting Professor of Music (Violin) at the Indiana University School of Music.

From 2007 to 2017, she served as Artist-in-Residence and Professor of Violin at Southern Methodist University in Dallas.

Chee-Yun plays a violin made by Francesco Ruggieri in 1669. It is rumored to have been buried with a previous owner for 200 years and has been profiled by the Washington Post.

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Program Notes Mariachitlán (2016)

by Juan Pablo Contreras (b. Guadalajara, Mexico, 1987)

Mexican mariachi music meets the international symphony orchestra in Mariachitlán. Juan Pablo Contreras, Mexican-born but trained in the United States (currently teaching at the University of Southern California), has summarized his artistic program in these words: “I started to write works that were influenced by the sounds of my homeland and that told stories about modern Mexico.”

The “tlán” in Mariachitlán comes from the Nahuatl language, and means something like “under” or “around,” as in Tenochtitlán, the name of the old Aztec capital that stood where Mexico City is now (the name Tenochtitlán translates, roughly, to “near the cactus”).

Contreras has offered the following comments on his piece: Mariachitlán (Mariachiland) is an orchestral homage to my birthplace, the Mexican state of Jalisco, where mariachi music originated. The work recounts my experience visiting the Plaza de los Mariachis in Guadalajara, the capital of Jalisco, a place where mariachis play their songs in every corner and interrupt each other to win over the crowd.

In Mariachitlán, traditional rhythms such as the canción ranchera (ranchera song) in 2/4 time (choon-tah choon-tah), the vals romántico (romantic waltz) in 3/4 time (choon-tahtah), and the son jalisciense (Jalisco song) that alternates between 6/8 and 3/4 time, accompany original melodies inspired by the beautiful landscapes of Jalisco. Mariachi instruments such as the trumpet, harp, and violin are featured as soloists in this work.

Furthermore, the strings emulate the strumming patterns of vihuleas, while the contrabasses growl like guitarrones.

Near the end of the piece, a policeman blows his whistle in an attempt to stop the party. However, the crowd chants Mariachitlán, gradually increasing in intensity, and is rewarded with more vibrant music that ends the work with great brilliance.

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Program Notes

Symphonie espagnole for violin and orchestra, Op. 21 (1873) by Édouard Lalo (Lille, France, 1823 – Paris, 1892) Spanish in its melodic sources, French in execution, symphonic in its proportions, and a concerto in sound, Symphonie espagnole successfully combines the best of all those worlds. It has been on the repertoire of almost every major violinist of the last 150 years, regardless of nationality. Few would disagree with the assessment of The New Grove Dictionary of Music and Musicians: “The freshness of its melodic and orchestral language is imperishable.”

The ancestors of Édouard Lalo, born 200 years ago, had moved from Spain to Flanders (then under Spanish rule) in the 16th century, and subsequently migrated to Northern France where the composer was born. Thus, Spain was, quite literally, in Lalo’s DNA, and it is hardly surprising that he became one of the first French composers to be inspired by the music of the country’s southern neighbor. His Symphonie espagnole was premiered in Paris by the great Spanish virtuoso Pablo de Sarasate, the very same year (1875) as Bizet’s opera Carmen. (Bizet, it should be noted, had no Spanish blood.)

Lalo, better known in his early days as a violinist and violist, was something of a late bloomer as a composer; the Symphonie espagnole marked his first big break at the age of 51.

Lalo gave his work the form of the symphony, with the role of the orchestra equal in importance to that of the soloist. While most concertos are in three movements, this work has five, and the composer subjected his themes to extensive motivic development of the kind one sees in many 19th-century symphonies.

The opening Allegro non troppo is based on two Spanish-flavored melodies, one more muscular, the other more lyrical, providing the kind of contrast symphonic form demands. For all the attention Lalo paid to symphonic structure, our attention remains riveted to the virtuoso fireworks in the solo part.

The second-movement Scherzando uses certain elements of Spanish folk dance, and plays some delicious games with slowing down and speeding up the tempo. The subsequent Intermezzo has an extended orchestral introduction, introducing a more serious dance melody that becomes quite passionate as it unfolds. After embellishing this same melody, the solo violin presents a second one, more delicate than the first, which then returns, suddenly taking a more sentimental turn at the end.

The slow fourth movement provides a brief moment of reverie, before the arrival of the work’s most memorable themes in the spirited finale, the emotional and technical high point of the entire piece.

Program Notes

Suite from The Firebird (1910/1945)

by Igor Stravinsky (Oranienbaum, nr. St. Petersburg, 1882 – New York, 1971) Sergei Diaghilev’s Paris-based Ballets Russes was one of the greatest ballet companies in history that united many of the best dancers of its time. Diaghilev, the director, combined the soul of a brilliant artist with the mind and skills of a shrewd businessman.

He was committed to exciting and innovative productions, and he sought out the best modern artists and composers available.

Among musicians alone, he worked over the years with Debussy, Ravel, Falla, Prokofiev, and others. However, he never made a more sensational nor a more fruitful musical discovery than when he engaged the 27-year-old Igor Stravinsky to write the music for Michel Fokine's new ballet, The Firebird. It was the start of a long collaboration that was to give the world Petrushka, The Rite of Spring, Les Noces, Mavra, and Apollon Musagète, and which ended only shortly before Diaghilev’s death in 1929.

Since the end of the 19th century, there had been a great affinity between Russia and France. The political alliance between the two countries had brought Russia closer to France (France had always been close to Russia where French had long been the language of the educated classes). At the same time, the geographical distance and the difference in culture endowed things Russian with an exotic flavor in the eyes of the French. Both Debussy and Ravel admired, and were influenced by, the music of the 19th-century Russian masters Mussorgsky and Rimsky-Korsakov.

To create a story of an appropriately exotic flavor, Fokine combined several Russian fairy-tales in his script. The stories of the beneficent Firebird and the evil ogre Kashchei the Immortal are combined in an ingenious plot, which Eric Walter White summarized in his classic book on Stravinsky as follows: A young Prince, Ivan Tsarevich, wanders into Kashchei's magic garden at night in pursuit of The Firebird, whom he finds fluttering round a tree bearing golden apples. He captures it and extracts a feather as forfeit before agreeing to let it go. He then meets a group of thirteen maidens and falls in love with one of them, only to find that she and the other twelve maidens are princesses under the spell of Kashchei.

When dawn comes and the princesses have to return to Kashchei’s palace, he breaks open the gates to follow them inside; but he is captured by Kashschei’s guardian monsters and is about to suffer the usual penalty of petrifaction, when he remembers the magic feather. He waves it; and at his summons the Firebird appears and reveals to him the secret of Kashchei’s immortality [his soul, in the form of an egg, is preserved in a casket]. Opening the casket, Ivan smashes the vital egg, and the ogre immediately expires. His enchantments dissolve, all the captives are freed, and Ivan and his Tsarevna are betrothed with due solemnity.

Program Notes

According to the original plans, the music for The Firebird was to be written by Nikolai Tcherepnin and, after Tcherepnin’s withdrawal,

by Anatoli Lyadov or Alexander Glazunov. However, none of these more experienced composers delivered the score on time, so Diaghilev approached Stravinsky, who had already worked for him as an orchestrator, and whose orchestral piece Fireworks had greatly impressed him. The young composer, honored by the commission, put aside the opera The Nightingale whose first act he had just completed, and began work on the ballet. He finished the score in May 1910. The premiere took place on June 25 of the same year.

As Richard Taruskin noted in his monumental study of Stravinsky’s Russian period, it was a “smashing success” that “catapulted Stravinsky into a world celebrity.”

In subsequent years, Stravinsky drew three different concert suites from The Firebird music. At tonight’s concert we will hear the last of these, which contains more than half of the original score. It begins with a mysterious introduction that leads directly to the dance of The Firebird. This section is dominated by the vibrant highpitched sounds of the piccolo flute and piccolo clarinet; the harp and the strings accompany with trills and broken chords while the pizzicati (plucked strings) in the cello provide rhythmic support.

Introduced by a short “Pantomime,” the “Pas de deux”—in which the Bird begs the Prince to set her free—is a slow movement that, in the present version, features a solo cello alongside thewoodwinds.

The tempo speeds up for “Pantomime II” and the “Dance of the Princesses,” a lively scherzo briefly interrupted by a lyrical middle section with a clarinet solo. A third pantomime leads to the “Khorovod (round dance) of the Princesses”, which begins with one of the ballet’s great melodies, played by the solo oboe.

The famous “Infernal Dance” follows, announced by a fast timpani roll. A syncopated motif arises from the lower registers and gradually takes over the entire orchestra. There is a lyrical countersubject representing the suffering of Kashchei’s prisoners. After the dance has reached its climax, The Firebird’s “Lullaby” appears as a total contrast, with the solo bassoon singing a delicate song accompanied by the harp and muted strings. In the suite, this lyrical moment sets the stage for the “Final Hymn” celebrating the wedding of Prince Ivan and the Princess. A beautiful Russian folksong is introduced the solo horn and gradually grows in volume until the entire orchestra joins in. At the end, a significant rhythmic change occurs: the symmetrical 3/2 meter gives way to an asymmetrical 7/4, to provide extra excitement at the end.

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Author: Peter Laki

Circles of Giving

The support of each and every San Antonio Philharmonic donor allows us to offer our audiences the finest performances throughout the season.

We extend special thanks to those who over the last year made gifts and in-kind contributions towards our creative artistic endeavors, impactful education programs, and dynamic special events. We are grateful to our volunteers, ushers and those who dedicate their time.

CAMPAIGN DONORS The San Antonio Philharmonic is grateful for the outstanding generosity of the leadership donors who have supported our comprehensive campaigns since 2022.

PLATINUM Colette Holt and David Wood American Federation of Musicians Local 23 San Antonio Symphony League SILVER Music Foundation of San Antonio In Memory of Robin and Peggy Abraham Musicians of the San Antonio Symphony Jeri Oishi Polly and George Spencer Sheila Swartzman Puente de Maravillas Foundation BRONZE American Endowment Foundation Lara August and Sheridan Chambers Candy and Buddy Gardner Frances and James Garner Anne and Bruce Johnson Angela Pfeiffer Robot Creative

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ANNUAL DONORS We extend special thanks to those who over the last year made gifts and in-kind contributions towards our creative artistic endeavors, impactful education programs, and dynamic special events.

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ARTISTS $10,000-$24,999 Alan's Legacy- Christensen Stiegel Music Performance Trust Fund Anonymous Eric and April Brahinsky Henry Cisneros Mary Anne and Tony Crosby Fidelity Charitable Fund First Baptist Church of SA The Estate of Walter Bell Linda and Edgar Duncan Colonel (Ret.) Stephen Fischer and Mr. Roy Biles Dennis Karbach and Robert Brown Elizabeth and Robert Lende Jack Lenox Barbara and Roger Lyons Thomas McKenzie Music Performance Trust Fund Nancy Otto The Parker Foundation Martha Ellen Tye Foundation Texas Urology Group Tres Grace Family Foundation Schwab Charitable Fund Seattle Symphony Orchestra Players Organization Nancy and Robert Shivers Barbara and Wayne Shore Mary D. and Bob Stiegel Penny Wiederhold Robert Woolley 3M

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Circles of Giving PRINCIPAL ($7,500-$9,999) Kenneth Fine and Rebecca Canary Pauline and Randolph Glickman Marcia and Otto Koehler Foundation Ricki and Marty Kushner Bunny and Bill Matthews

MUSICIAN ($5,000-$7,499) Ruth and Richard Butler Virginia Bonnefil Melvin Cohen Ruchira and Ian Corey Anjali and Ajeya Joshi Carol Lee Klose and Carolyn A. Seale Trust for Women in the Arts Mark Lee Agnes and Jim Lowe Melinda Lee and Ken-David Masur Teresa Milburn The Estate of Beverly Purcell Guerra Sandy and Richard Rybacki Lucy Jo and William Sherrill Donna and Ian Thompson Meghan and Ian Thompson Vanguard Charitable Fund Margaret Weinblatt Joan and Gates Whiteley Rachel and Christopher Wilkins

SECTION ($2,500-$4,999) Lynn and Larry Amos Jana Olson Baker Bakery Lorraine Sam Bowker Sharon and Thomas Dukes Sharon and Bjorn Dybdahl Ruth Ann Edney Edward Eaton EOG Resources Drea Garza Toni and Richard Goldsmith Mary Ellen and David Goree Hotel Indigo Barbara and William Hintze Cecilia and Frank Herrera John I Hudson April and Aaron Hufty Stephanie Key and David Mollenauer The Estate of Col. Nickey McCasland Whitney McCarthy Carol and Peter McGanity The Nguyen Family and Ted Chung Rebecca and Scott Nathan, Jesse H and Susan Oppenheimer Foundation Susan Oppenheimer, Jesse H and Susan Oppenheimer Foundation Dolores Perrine Harriet B. and David Pinansky Public Theater San Antonio Gregory Radabaugh Kathy Rafferty Margaret Rote Georgina Schwartz Dr. and Mrs. Alberto C Serrano Gerald Stepman Emilia and William Westney Molly Zebrowski The Alfred S. Gage Foundation

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Circles of Giving ORCHESTRA $1,000-$2,499 Barbara and Wayne Alexander Helga Anderson George C. Allen, Jr. and Bryan L. Saldana Artpace San Antonio Cleo Aufderhaar Kay Lorraine Johnson and Scott Baird Jana Baker Cynthia and James Balentine Irma and John Beitz Janice Miller and Thomas G. Belden Benson Family Fund of the SAAF Sue and Leonard Bentch Ruth and Jim Berg Margaret Boldrick Eric and April Brahinsky Joan and David Brahinsky Lo Bready Lauren Browning Charleen and Walter Burghardt Capital Group Marco Chalaby Christ Episcopal Church Anne Church Allyson Dawkins and Jan Vandenhende Claire and Albert Delauro John E. Dempsey Kimberly and Richard Dietz James Drought Arlene Dryer Edward Eaton Melody Edens Wayne Ehrisman Linda Ellsworth and George Mann Julianne Fish David Fisher Diane and Ian Fisher Freda Flaz Robert Flynn Jimmie Sue Francis Shelley Galbraith Jan Garverick John Giolma

ORCHESTRA $1,000-$2,499 Jeffrey L Glass Erika Gonzalez Mike Greenberg Steven Greenberg Margo Denke and James Griffin Mildred and James Harnish Judith Harrison Joanna and Bill Harrison Estella Hassan Josephine Heim-Hall Joe W. Hipp Christine and Kevin Hoag Deborah and Eric Hoover Lily Johnson Suzanne Kasanoff Bradley Kayser and Gemma Kennedy Jane Key and Peter O'Brien Terri Kirn Sharon Kocurek Louis J. and Millie M. Kocurek Charitable Foundation Barbara Kyse Rosario Laird Joan and Lynn Lasswell James R. Letchworth and Kirk Swanson Patricia Bridwell and John Lewis Cindy and Richard Marini Taddy McAllister Whitney McCarthy Shaun McChesney Janice Miller Myfe Moore LIllian P. Morris Sydney and Gregg Muenster Michael Munson Toni and Joseph Murgo Sheila Murray Mary and Nels Nelson William Nichols aura and Aris Nikas Phyllis Nguyen

ORCHESTRA $1,000-$2,499 Martha K. and Russell E. Oppenheim Susan Pamerleau Annette Paulin David Pearce Kristen Pellegrino Dolores Perrine Maria and Fred Pfeiffer Leslie Provence Amy Pikler Allan Polunsky Ann Pomerantz Patricia Pratchett Greg Ragsdale Elizabeth Rankin-Williams Chere Reneau Andrew Rockwood San Antonio Junior Forum Brigitte and Mo Saidi Jonathan Salter Patricia Schofield and Frank DeGrasse Halah Shaheen Rebecca Gonzalez and Doug Smith Buffy and Peter Smolens Morris Spector Barbara Stover Rabbi Samuel and Lynn Stahl Holly K. Denton and Jack Swanson Elizabeth and Mark Tapley Karen and Curtis Vaughan Greg Vaught Karen Waldron Emily Wang and Jason Bowling Huirong J. Wang and Yan Xiang Washington DC Federation of Musicians Jane Welch Stephanie and Benjamin Westney Mark Wright Judy Yaeger

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Tribute Gifts

Tribute gifts made January 1, 2023 to present IN MEMORY In Memory of Bo McAllister by Harriet and Austin Helmle In Memory of Cynthia Valkavich by Pete Stelmachowicz In Memory of my Wife, Joyce by Pete Stelmachowicz In Memory of Thomas Collins by George Gregory In Memory of Ms. Martha Landsman by Janet B. Alyn and the Alyn Family In Memory of Walter R. Bell by William and Mary Jo Bell In Memory of Dr. Kenneth Bloom by Sue and Leonard Bentch In Memory of Anthony Vaught by Greg Vaught In Memory of John Lamont McFadden by Beatrice McFadden In Memory of David Van Os by Allyson Dawkins and Jan Vandenhende In Memory of Dr. Kenneth Bloom by Sandra Reagan In Memory of Kenneth Bloom by Anne and Bruce Johnson In Memory of Beverly Purcell Guerra by San Antonio Symphony League In Memory of John Lamont McFadden by Beatrice McFadden

In Loving Memory of Dr. Kenneth Bloom Dr. Sheila Swartzman

Henriette Seiterle

Janice and Alan Craven

Henry Lipsitt

Taddy McAllister

Nancy and Robert Shivers

Allyson Dawkins and Jan H. Vandenhende

Ruth Madorsky

Natalie Noriskin

Irma Taute

Kenneth Fine and Rebecca Canary

Debra Maltz

Ellen and Arthur Pincus

Andrea and David White

John Giolma

San Antonio Symphony League

Chere Reneau

Anne Johnson

Jeffrey L. Glass

Sandra Regan

Joe Romo

Sue and Leonard Bentch

Jack Lenox

Anne and Bruce Johnson

Tribute Gifts

IN HONOR In Honor of the 2022-2023 San Antonio Symphony League Board Members for their dedication and endless hour of service. Stephanie Girling, Maureen Hillman, Gail Jarratt, Vickie Kinder, Joanne Lawton, Adrian Martinez, Whitney McCarthy, Terri McDowell, Angela Pfeiffer, Kathy Rafferty, Janette Surrett, Molly Zebrowski Molly Zebrowski, Outstanding League Volunteer

by San Antonio Symphony League Ian Thompson Jr. and Ian Thompson III by Russell Davis Colette Holt and David Wood by Jill Peters Donna Thompson's Birthday by Mary Ann and Charles Franzke Donna and Ian Thompson by Candy and Buddy Gardner My Sister, Beth E. Johnson by Paul Johnson The International Conference of Symphony and Opera Musicians

by Mary Ellen and David Goree Gary Gast by Mary Gast Dale and Kent Morrison by Albert and Janice Clayton Delores O'Neill Meldrum by Virginia Bonnefil Mr. Roberto Trevino by April Dickson Donald Padgett on behalf of Sherry Rubins In honor of Ruth Mdorsky's 86th Birthday by Sharon Davison In honor of Mary Ellen Goree's Birthday by April Dicson In honor of Mary Ellen Goree's Birthday by Gracie Howard Love to Mary Ellen Spencer Goree and all! by Mary Donovan In Honor of Eric and April Brahinsky who have attended your concerts for over 25 years by David Brahinsky

NAMED MUSICIAN SPONSORS Angela Caporale, Violin, by Donna and Ian Thompson & Ruchira and Ian Corey Barbara George, Cello, by Nancy Otto Beth Johnson, Violin, by Jack Lenox Peter Rubins, Horn, by Barbara and Wayne Shore Karen Stiles, Violin, by Barbara and Wayne Shore Allison Bates, Librarian, by Ricki and Marty Kushner

Support & Giving

Individuals who include the San Antonio Philharmonic in their estate planning impact the Philharmonic’s financial health well into the future.

Legacy Giving recognizes and thanks our loyal friends who have included the San Antonio Philharmonic in their charitable estate plans. Such gifts include bequests, charitable trusts, gifts of retirement plan assets, and gifts of tangible property.

Members enjoy the enormous satisfaction of supporting the San Antonio Philharmonic and are acknowledged in the Philharmonic’s concert programs. Additionally, they receive benefits that include invitations to exclusive receptions with our Musicians and opportunities to attend educational gatherings such as open rehearsals with the orchestra, guest conductors, and guest artists.

For more information, please contact development@saphil.org.

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Upcoming Classics 2 Helseth plays Arutiunian October 13 and 14

Vinay Parameswaran, conductor Tine Thing Helseth, trumpet Gabriella Smith Field Guide Arutiunian Trumpet Concerto Reena Esmail Avartan Sibelius Symphony No. 5 Internationally acclaimed Norwegian trumpet soloist Tine Thing Helseth joins the SA Phil to perform Arutiunian’s virtuosic trumpet concerto. With two contemporary works, Gabriella Smith and Indian-American Reena Esmail transport the listener into nature and across the globe with rhythmical soundscapes. Vinay Parameswaran, one of the most exciting and versatile young conductors on the podium today, leads the SA Phil in Sibelius’ Symphony No. 5, continuing the cyclic nature theme through an epic expression of the Nordic landscape.

San Antonio Philharmonic Season 2023-24 Chee-Yun and The Firebird Jeffrey Kahane, conductor Chee-Yun, violin September 22 & 23

Helseth plays Arutiunian

Vinay Parameswaran, conductor Tine Thing Helseth, trumpet October 13 & 14

Mulligan conducts Dvořák

Carrasco conducts Mussorgsky

Ludwig Carrasco, conductor Crystal Jarrell Johnson, mezzo-soprano San Antonio Mastersingers February 23 & 24

Mozart & Schumann

Anthony Parnther, conductor David Kaplan, piano March 22 & 23

Stephen Mulligan, conductor November 3 & 4

Gluzman plays Beethoven

Rachmaninoff and Tchaikovsky

Sarah Ioannides, conductor Gabriela Martinez, piano December 1 & 2

Villa-Lobos and Mahler

Marcelo Lehninger, conductor Laura Strickling, soprano January 19 & 20

Vadim Gluzman, director and violin April 19 & 20

Brahms & Dvořák

Jean-Marie Zeitouni, conductor Sterling Elliot, cello San Antonio Mastersingers May 10 & 11

Goosby Returns & Beethoven 5

Lina González-Granados, conductor Randall Goosby, violin May 31 & June 1

Board of Directors Brian Petkovich - Founder & President

Peter Rubins - Founder & Vice President Karen Stiles - Founder & Treasurer Stephanie Westney, DMA - Founder & Secretary BOARD MEMBERS Lara August Jesse Borrego Aaron Hufty, DMA Gina Ortiz Jones Ian Thompson III, M.D. David Wood

Staff

Roberto C. Treviño - Executive Director Allison Bates - Librarian Annika Becker - Development Associate LaNice Belcher - Development Officer Nancy Cook-Monroe - Public Relations Kelly Page - Director of Marketing Gabriella Reyna - Director of Education & Community Engagement Sherry Rubins - Personnel Manager Cassandra Sanchez - Sales Coordinator Lindsey Smith Webb - Grants Writer Molly Zebrowski - Volunteer Coordinator www.saphil.org

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Tickets & Subscriptions

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Student tickets are $10 tickets at the door with current Student ID. Details and Ordering are at saphil.org.

Program Guide Advertising

Program Guides • 2023-24 Season Advertising in San Antonio Philharmonic programs allows businesses, services, and organizations to reach a diverse and distinguished audience. We thank you in advance for supporting our Classics Series performances with your program advertising.

If you are interested in advertising in our program guides, please contact sales@saphil.org or at 210-201-6006.

Thanks y Gracias

The San Antonio Philharmonic thanks you for joining our second season of Classics Performances. We have consciously crafted a season that will both satisfy your curiosity for what is new and reacquaint you with works that define symphonic music.

We are pleased to have you join us for a great season.

Tickets & Subscriptions are available at www.saphil.org.

San Antonio Philharmonic 1314 Guadalupe Street • Suite 201 San Antonio, Texas 78207 hello@saphil.org • 210.201.6006 saphil.org © 2023 San Antonio Philharmonic. All Rights Reserved. Artists & repertoire are subject to change without notice.