San Antonio Philharmonic 2023-24 Classics 2 Program Guide

Classics 2

Program Guide

Helseth plays Arutiunian Vinay Parameswaran, conductor Tine Thing Helseth, trumpet

Adelante Juntos!Forward Together Dear esteemed members of the San Antonio community, The San Antonio Philharmonic is a pillar of the arts community, fostering a deep appreciation for classical music and showcasing the remarkable talent of our orchestra. Our commitment to artistic excellence is unwavering, and we are excited to present an extraordinary program that will captivate your senses and transport you to new musical heights.

Classics 2 promises to be an unforgettable evening, featuring masterpieces from renowned composers performed by our worldclass musicians under the baton of esteemed guest conductor, Vinay Parameswaran and guest artist Tine Thing Helseth on trumpet. The carefully curated repertoire will showcase a diverse range of musical styles, from the grandeur of a symphony to the intimacy of a chamber piece. Each note will reverberate through the concert hall, creating a symphony of emotions that will leave you breathless.

However, we cannot achieve our mission of bringing exceptional music to our community without your support. We invite you to join us in spreading the word about the San Antonio Philharmonic, encouraging your family, friends, and colleagues to experience the magic of live orchestral music. By sharing your enthusiasm and inviting others to attend, you play an integral role in expanding our reach and fostering a love for classical music among a wider audience.

We invite you to become an integral part of the San Antonio Philharmonic family. By attending our concerts, spreading the word, and providing financial support, you actively contribute to the growth and sustainability of our organization. Together, we can forge a future where the transformative power of music is accessible to all, enriching lives and fostering a sense of community.

We look forward to welcoming you to our entire Classics series and embarking on this magnificent musical journey together. Thank you for your unwavering support, and let us continue to inspire, uplift, and unite through the universal language of music.

Roberto Treviño, Executive Director

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With deepest gratitude,

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Program October 13 & 14, 2023, 7:30 p.m.

Vinay Parameswaran, conductor Tine Thing Helseth, trumpet

Field Guide

Gabriella Smith (b. 1991)

Concerto for Trumpet and Orchestra

Alexander Arutiunian (b. 1920-2012)

Tine Thing Helseth, trumpet

Intermission

Reena Esmail (b. 1983)

Symphony No. 5 in E-flat major, Op. 82 Tempo molto moderato Allegro moderato – Presto Andante mosso, quasi allegretto Allegro molto – Misterioso

Jean Sibelius (b. 1965-1957)

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Avartan

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Orchestra Violin I Ertan Torgul, Concertmaster Rainel Joubert, Assistant Concertmaster Craig Sorgi Philip Johnson Bassam Nashawati Andrew Small Eric Siu Angela Caporale Stephanie Westney Julie Post Violin II Mary Ellen Goree, Principal Karen Stiles, Assistant Principal Amy Venticinque Beth Johnson Eva Weber Ryan Coppin Jackson Mankewitz Kevin Mendoza Viola Allyson Dawkins, Principal Marisa Bushman, Assistant Principal Amy Pikler Beverly Bias Bethany Turriff Chris Gokelman Cello Kenneth Freudigman, Principal Barbara George, Assistant Principal Qizhen Liu Carolyn Hagler Elizabeth Massad Lynda Verner Bass David Milburn, Principal Zlatan Redzic, Assistant Principal Steven Zeserman James Chudnow Harp Rachel Ferris, Principal Librarian Allison Bates, Principal

Flute Douglas DeVries, Principal Rachel Woolf Julie Luker, Assistant Principal Oboe Jennifer Matthews, Principal Deana Johnson, Assistant Principal Erin Webber Clarinet Ilya Shterenberg, Principal Ivan Valbuena Paez, Assistant Principal Nicholas Councilor Bassoon Brian Petkovich, Principal Ryan Wilkins, Assistant Principal Riley Litts Horn Peter Rubins, Principal Catherine Dowd Russell Rybicki, Assistant Principal Caroline Steiger Erin Amendola, Utility Trumpet John Carroll, Principal Lauren Eberhart, Assistant Principal Dan Orban 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 Paul Millette Piano N. Seth Nelson

Vinay Parameswaran

VINAY PARAMESWARAN Conductor Internationally recognized for his energetic presence, imaginative programming, and compelling musicianship, Vinay Parameswaran is one of the most exciting and versatile young conductors on the podium.

Highlights of the 2022/23 season include Parameswaran’s debut with the Charlotte Symphony and return appearances with the Nashville Symphony and Rochester Philharmonic orchestras. He also conducts a series of education concerts with the Chicago Symphony. In the 2021/22 season, Parameswaran concluded five seasons with the Cleveland Orchestra, where he was Assistant Conductor from 2018/19 and promoted to Associate.

Parameswaran has led performances of Mozart’s The Magic Flute and Donizetti’s The Elixir of Love with Curtis Opera Theater. In Cleveland, he has assisted Franz Welser-Möst on productions of Verdi’s Otello, Janáček’s The Cunning Little Vixen, Wagner’s Tristan und Isolde and Strauss’ Ariadne auf Naxos. With the Curtis Ensemble 20/21 and violinists Jaime Laredo and Jennifer Koh, Parameswaran recorded the album Two x Four, featuring works by Bach, David Ludwig, Philip Glass, and Anna Clyne.

Parameswaran was a Conducting Fellow at the Tanglewood Music Center, and has participated in conducting masterclasses with David Zinman at the National Arts Centre Orchestra in Ottawa, as well as with Marin Alsop and Gustav Meier at the Cabrillo Festival of Contemporary Music. Parameswaran was a recipient of a Career Assistance Award by the Solti Foundation U.S. in May 2021.

A native of the San Francisco Bay Area, Parameswaran graduated with honors from Brown University with a Bachelor of Arts in music and political science. At Brown, he began his conducting studies with Paul Phillips. He received an Artist Diploma in conducting from the Curtis Institute of Music, where he studied with renowned pedagogue Otto-Werner Mueller as the Albert M. Greenfield Fellow.

TineThingHelseth

TINE THING HELSETH Trumpet “Since the beginning of her career, Norwegian trumpeter Tine Thing Helseth has championed the trumpet repertoire amongst audiences on all six continents, meriting the highest critical praise for her soulful, lyricalsound and collaborative approach to music-making. An artist who challenges the boundaries of genre with an intensely creative, open-minded philosophy, Tine’s repertoire ranges from the classical period to contemporary works and new commissions.

She has been the recipient of numerous awards for her work in classical music, including Newcomer of the Year at the 2013 Echo Klassik Awards, the 2009 Borletti-Buitoni Trust Fellowship, and second prize in the 2006 Eurovision Young Musicians Competition. In 2007, Tine had the rare honour of being the first ever classical artist to win Newcomer of the Year at the Norwegian Grammy® Awards (Spellemannprisen).

Tine has worked with some of the world’s leading orchestras, including the Bamberger Symphoniker, NDR Elbphilharmonie Hamburg, Gürzenich-Orchester Cologne, Tonkünstler-Orchester 13 Vienna, Philharmonia Orchestra, BBC Scottish Orchestra at the BBC Proms, Warsaw, Rotterdam, Oslo, Bergen and Helsinki Philharmonic orchestras, Danish Radio Symphony orchestra, Royal Stockholm Philharmonic, Baltimore and Cincinnati Symphony orchestras, Singapore Symphony, KBS Symphony and Hong Kong Philharmonic.

Tine released a highly anticipated album “Magical Memories For Trumpet and Organ” which was selected by Gramophone to feature in their “Recording of the Year 2021” August selection, and received 5 star review from BBC Music Magazine. Earlier recordings include concertos by Haydn, Albioni, Neruda and Hummel with the Norwegian Chamber Orchestra, “Storyteller” disc with the Royal Liverpool Philharmonic released on the EMI Classics label presenting a personal selection of original and transcribed works accompanied by pianist Kathryn Stott, and an album with Tine Thing Brass Ensemble released on Warner Classics.

Program Notes Field Guide (2017)

by Gabriella Smith (b. Berkeley, 1991)

Philosophers have written volume after volume debating whether music can be “about” anything besides the notes. For Gabriella Smith, this is not even a question: this young composer is just as passionate about the environment as she is about writing. Music and nature become one in a rapidly growing catalog of works that is increasingly recognized as one of the most original to emerge in recent years.

Smith has made the following comments on Field Guide as a preface to the score: In the past few years, I have become obsessed with making field recordings everywhere I go. It began with my desire to record the unfolding and trajectory of the dawn choruses I remember hearing every early Sunday morning as a teenager on the drive out to Point Reyes Bird Observatory where I would volunteer as a bind bander.

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It would always start just as we drove past Lagunitas Creek, about thirty minutes before sunrise, and we’d turn off the music and roll down the windows and let in the glorious cacophony and cold morning air. Since then I have recorded dawn choruses and many other natural and human-produced soundscapes around the world while backpacking in the Sierras, Cascades, and Andes, in temperate and tropical rainforest, in desert, in coastal scrub, in oceans, tide pools, bays, lakes, and glacial streams recording underwater sounds with my hydrophone, and in the streets and parks and subways of the cities I have spent time in. I envisioned Field Guide as a collage inspired by these various recordings and my improvisations with them on violin and voice. Many thanks to the Cabrillo Festival for commissioning this piece in honor of John Adams’ 70th birthday. John, I dedicate this piece to you in celebration of your birthday and especially in gratitude for the many ways you and your music have inspired me over the years.

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Program Notes

Trumpet Concerto (1950)

by Alexander Arutiunian (Yerevan, [Soviet] Armenia, 1920 – Yerevan, Armenia, 2012) For a work written by a little-known composer behind the Iron Curtain at the height of the Cold War, Alexander Arutiunian’s Trumpet Concerto has enjoyed a remarkable career in the West, where it has long been counted among the most popular concertos ever written. In the United States, it has enjoyed spectacular success ever since trumpeter Roger Voisin, longtime principal trumpet of the Boston Symphony, gave the American premiere with the Boston Pops, with Arthur Fiedler conducting, in 1965. Arutiunian himself remained a rather obscure figure until very recently. There was little to read about his life in English until trumpeter-scholar Sienkiewicz wrote his doctoral dissertation on him at Boston University in 2019.

Arutiunian was born in Armenia just as his country was being forcibly incorporated in the Soviet Union. Aside from a two-year study period in Moscow, he spent his entire life in Yerevan, the Armenian capital, composing prolifically until old age; he was also active as a teacher and administrator. Steeped in traditional Armenian music from childhood, Arutiunian absorbed the influences of leading Soviet composers Prokofiev, Shostakovich and fellow Armenian Aram Khachaturian. He wrote his most successful works in what one Armenian critic fittingly labelled the “Big Soviet” style—by which he meant a special combination of structural simplicity, melodic richness and sonic grandeur, as mandated by the authorities.

All these characteristics are fully on display in Arutiunian’s Trumpet Concerto. It is in a single movement, but the lyrical second theme is enlarged to the point that it almost seems like a separate movement.

Of course, there are plenty of opportunities for the soloist to play fast virtuoso passages, and also for the orchestra to make important contributions in the form of sensitive woodwind solos and massive tutti buildups.

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It is one of the ironies of history that this concerto, written in the “Big Soviet” style, has far outlived the political constraints that shaped it.

Living in a very different society halfway around the globe, today’s players and audiences in the West still love music that uses familiar language to tell a new story in a delightful way.

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Program Notes Avartan (2016)

by Reena Esmail (b. Chicago, 1983)

The traditions of Indian and Western classical music—two equally rich and sophisticated traditions—are so different from each other that there have been few attempts over the years to bridge the gap that separates them. But that is exactly the goal that Reena Esmail, an American composer born to Indian parents and based in Los Angeles, has been pursuing with outstanding success. Esmail’s music is nourished by her double identity: she has a doctorate in (Western) composition from Yale and studied Hindustani singing in India. Yet she aims for more than a synthesis of musical elements. As she has stated in an interview: I use my music as a platform to bring people together…who are very unlikely to interact with one another outside of a piece of music that I would create, but that music allows them to form a bond with each other where then deeper conversations can be had and relationships can be built.

Her composition Avartan was commissioned by the American Composers Orchestra, which premiered it, under George Manahan’s direction, at Carnegie Hall on April 1, 2016. Esmail has offered the following remarks about the work: In Hindustani music, an avartan is a rhythmic cycle. Each avartan returns to its point of origin, while simultaneously moving the music forward into new territory.

This work progresses from what I imagine a listener would perceive as characteristically Indian (almost as if it was the transcription of a Hindustani melody and drone), and then moves slowly along the continuum towards incorporating more Western elements, finally ending with only a brass quartet— but musically coming full circle.

The entire work is an avartan of sorts: it moves along every point of a continuum and ultimately returns to the original point with a renewed perspective.

Program Notes

Symphony No. 5 in E-flat major, Op. 82 (1915-19)

by Jean Sibelius (Hämeenlinna, Finland [then part of the Russian Empire], 1865 – Järvenpää, 1957) During the one meeting Jean Sibelius had with Gustav Mahler, the latter spoke about the need for the symphony to be all-embracing, to be a world unto itself. Sibelius, for his part, insisted on “the profound logic that created an inner connection between all the motifs.” For Mahler, the germ out of which a symphony grew was often a literary, philosophical or metaphysical idea, and those ideas created the structure of the work. Sibelius, on the other hand, would take simple musical motifs as his starting points and use them to build edifices of surpassing grandeur and majesty. Expressivity was a result of this imposing musical architecture. In other words, structural coherence was the Finnish master’s way of “embracing the entire world.”

From Beethoven and Brahms, Sibelius had inherited the idea that everything in a symphonic work had to grow organically from a small number of basic elements. Yet he implemented this classical principle in entirely new ways.

The opening of Sibelius’s Fifth may strike some listeners as a slow introduction.It is somewhat tentative and hesitant, and emphasizes single intervals repeated in different instrumentations. It seems that the music does not immediately “get going.” Yet it eventually becomes clear that this is not an introduction at all but the main body of the movement. The opening motif is developed in two successive surges, with the volume and the density of the music going through two cycles of gradual increase and decrease. Then a new section begins with a highly chromatic passage (that is, one that uses many half-steps not part of the main key). This passage, played by the solo bassoon, is marked lugubre and patetico; it leads, again very gradually, into a faster tempo. Some commentators interpret this as the beginning of a new, undesignated movement, bringing the number of the symphony’s movements from three to four. Others prefer to regard it as part of the first movement. The very possibility of such a disagreement is a sign of the typically Sibelian blurring of structural boundaries.

Program Notes

This Allegro moderato section has the character of a scherzo. While it does behave in some ways as a separate movement, its main theme is derived from the horn melody with which the whole symphony began. A new theme is later introduced by the trumpet, as it is developed it becomes increasingly clear that it, too, is a variation of the symphony’s opening measures.

This motif, at first easy to overlook, turns out to play an important role in the finale. The famous British music analyst, Donald Francis Tovey, memorably described it as “Thor swinging his hammer,” referring to the Nordic thunder god after whom Thursday is named. (Thor is also well known to Wagnerians as the character Donner from Das Rheingold.) Listening to this melody, it is not hard to visualize a supernatural being displaying his strength.

In the symphony’s final movement, the “Thor” theme is combined with another, constantly moving idea, but the latter is eventually phased out and Thor takes over unchallenged. The tempo becomes slower and slower, the hammer blows stronger and stronger, until the last six widely-spaced strokes, which provide one of the remarkable endings in the symphonic literature.

The Fifth gave Sibelius more trouble than any of his other six symphonies. In September 1914, he wrote in his diary: “In a deep dell again. But I already begin to see dimly the mountain that I shall certainly ascend….God opens His door for a moment and His orchestra plays the Fifth Symphony.”

By May 1918, he reported that he had “practically composed anew” his Fifth Symphony. The work was finally re-introduced in the newly independent Finnish Republic, established on June 17, 1919. National independence, a cause that had inspired so much of Sibelius’s early music, had at last become a reality. The country’s most prominent composer was among the first to celebrate this event with the final version of one of his most grandiose works.

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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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.

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

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Upcoming

Classics 3

Photo Credit Simon Pauly

Mulligan conducts Dvořák November 3 and 4 Stephen Mulligan, conductor Mozart Overture to The Magic Flute Stravinsky Pulcinella Suite Dvořák Symphony No. 9, “From the New World" Conductor Stephen Mulligan, who has been described as “nothing less than thrilling," delights the audience with some of the greatest hits in the orchestral repertoire.

The SA Phil highlights music written for the stage with the Overture to Mozart’s beloved opera The Magic Flute and Stravinsky’s Suite from the ballet Pulcinella, featuring five string soloists from the orchestra. Dvořák’s “New World” Symphony combines American and Czech folk traditions and is one of the most popular symphonies ever written!

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

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CLASSES

MASTER TINE THING HELSETH TRUMPET SATURDAY OCTOBER 14, 2023 SPONSORED BY UTSA GABRIELA MARTINEZ PIANO SATURDAY DECEMBER 2, 2023 SPONSORED BY UTSA LAURA STRICKLING VOICE SATURDAY JANUARY 20, 2024 DAVID KAPLAN PIANO SATURDAY MARCH 23, 2024 STERLING ELLIOTT CELLO WITH YOSA SATURDAY MAY 11, 2024 RANDALL GOOSBY VIOLIN SATURDAY JUNE 1, 2024

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Program Guide

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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.

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