San Antonio Philharmonic 2023-24 Classics 1 Program Guide

Program Guide Classics 1

Chee-Yun and The Firebird

Jeffrey Kahane - Conductor

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Roberto Treviño, Executive Director

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

Jeffrey Kahane, conductor

Chee-Yun, violin

Mariachitlán

Symphonie espagnole, Op. 21

Allegro non troppo

Scherzando: Allegro molto

Intermezzo: Allegretto non troppo

Andante

Rondo

Chee-Yun, violin

Intermission

Suite from The Firebird (1945)

Introduction

Édouard Lalo (1823-1892)

Igor Stravinsky (1882-1971)

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

Juan Pablo Contreras (b. 1987)

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

JEFFREY KAHANE Conductor

Program Notes

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 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 col with many of today’s most important chamber ensemb 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

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.

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.

Suite from The Firebird (1910/1945)

Program Notes

by Igor Stravinsky

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.

(Oranienbaum, nr. St. Petersburg, 1882 – New York, 1971)

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.

Author: Peter Laki

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Classics 2 Upcoming

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

Stephen Mulligan, conductor

November 3 & 4

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

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

Gluzman plays Beethoven

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

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

Board of Directors 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

Tickets & Subscriptions

Concert goers have three ways to enjoy San Antonio Philharmonic: Season Subscriptions include free parking at performances, Flex Packages for three or more concerts of your choice, and Individual Tickets.

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.