UTRGV Symphony Orchestra by utrgvartsprograms

FirstProgram~2025 • 2026ConcertSeason

BEETHOVENMAHLER

UTRGVPerformingArtsComplex,Edinburg Wednesday,October8,2025at7:00pm

NormanGamboa,Conductor

ShaynaIsaacs,Soprano ShokoKinsella,Piano

PianoConcertoNo.4inGmajor,Op.58..... .LudwigvanBeethoven (1770-1827)

I.Allegromoderato

II.Andanteconmoto

III.Rondo(vivace)

INTERMISSION

SymphonyNo.4inGmajor...................GustavMahler (1860-1911)

I.Bedächtig,nichteilen

II.IngemächlicherBewegung,ohneHast

III.Ruhevoll

IV.Sehrbehaglich

Forabetterconcertexperience,wekindlyaskyoutoturnoff cellularphones,pagers,andalltypesofnoisemakers.Thankyou!

PROGRAMNOTES

PianoConcertoNo.4inGmajor,Op.58

LudwigvanBeethoven

Composedbetween1805and1806, Beethoven’s PianoConcertoNo.4 receiveditsfirstpublicperformanceat alegendary4-hourmarathonconcert thatalsoincludedthepremieresofhis fifthandsixthsymphonies,the Choral Fantasy,andportionsofthe MassinC. Bythistime,hishearinglosshad becomemuchmoreseriousandthe Fourthisthelastofhisconcertosthat hewasabletoperformfromthe keyboard.Allthreemovementsofthe concertoareverydistinctfromone another.Witharatherunusualsolo pianointroduction,thefirstmovement beginsinareflectivestyleusinga short-short-short-longrhythmicpattern characteristicofBeethoven’smiddle compositionalperiod.Thenthe orchestraentrancefollowsinstantly, changingthemoodbypresentingthe samethemebutthistimeinkeyofB major.Next,astatelysecond movementwithamarkedbyabrusque themeinoctavesbythestringsserves tointroduceacontrastingsubtleand delicategesturefromthepiano.Atthe timeBeethovenwascomposinghis fourthconcerto,hisnewestpianohada pedalmechanismthatshiftedthe hammerssotheycouldhitone,two,or allthreestrings,thusallowinggreat controlinvolumeaswellaschangesin tonecolor.Inthesecondmovementhe wrotefor“unacorda”and“due corde,”effectsthatamoderngrand pianocanonlyapproximate.Thefinale movementbeginswithaquiet,fanfarelikemotifinthestrings.Then,trumpets andtimpanijoininafinalfrenetic outburstasareminderofBeethoven’s senseofhumor.

SymphonyNo.4inGmajor GustavMahler

Mahler’smusicisfilledwiththe melancholyandpresentimentof hopelessnessoftenfoundinthelate

nineteenth-centuryRomanticism.His large-scaleworks,oftenrequiringlarge numbersofperformers,canbean endurancechallengeforaudiencesand playersalike.Morerecognizedinhis timeasconductorthanascomposer, heassiduouslycomposedinsummers, whilepursuingastrenuousconducting careerthatwasbroughttoanearlyend byheartdisease.Hisoutputprimarily consistsofsymphoniesandsongs.His firstsymphonywascompletedin1900, andhewasinthemidstofcomposing histenthatthetimeofhisdeath.Often groupedtogether,hisfirstfour symphoniesareunitedbytheir numerousfolk-likemelodiesandthe manysettingstothepoetryof Des KnabenWunderhorn (theBoy’sMagic Horn),acollectionofearlyGermanfolk poemsandsongs,whichfitted perfectlyhispredilectionforsimple referencesto“natureandlife.”While thefirstthreesymphoniesareimposing andlongworksthatexplorethemesof desperationinlove,life’ssuffering,and therelationshipofthenaturalworldto humankind,thefourthismore accessibleinmood,length,and instrumentation.Premieredin1901with Mahleratthepodium,ittookhim longerthanexpectedtocomposeit despitebeingshorterandmore modest.Itsreceptionatthepremiere wasnotahappyone,itwasdescribed as“adroolingandemasculated musicalmonstrosity.”Still,Mahler’s subtleundertonesareominously present;aprimordialfearcontinuously permeatesthework;thefamousjolly openingwithbellsandflutesareacase inpoint:Mahlerremarkedthattheyare notthehappysleighbellsofchildhood, butratherthosethattraditionally appearonthecapsofjesters.Agentle melodyintheviolinsandthedance-like themebythecellosinthefirst movement,arecompletelydashedby thelengthandcomplexityofthe contrapuntaltexturesinthe developmentsection,endingwitha crushingdissonanceandatrumpet fanfarethatMahlerwilllaterreuseas theopeningstatementforhisfifth

symphony.Forthesecondmovement scherzo,heindicatedthatitshouldbe played“inaleisurelymovement, withouthaste,”unlikesomany scherzosthatsailaheadinadizzy frenzy.Afterabriefhornsolothemain themeappears,itisscoredforasolo violinthatistunedastephigher,giving itasomewhatharshertonequalityand enhancingitsdesignationasthe “fiddleofdeath,”areferencefroma tropeofGermanfolklore.Thenthefirst triosectioninthestyleofatraditional AustrianLändlerfollows,featuringa simpletunebytheclarinet.Soon,the hornsummonsthereturnofthefirst sectionandthetrumpetheraldsthe secondtrio,thistimethefiddle changesitsguiseanddecidedlydoes notevokedeath.Avariedrepriseofthe beginningwithlotsofflashesof sparklingcolorendsthemovement.In thethirdmovement,theworldofdeath playinghisfiddleisleftbehindanditis replacedbytheideaofheaven. It

consistsoftwocontrastingideasthat areannouncedatthebeginningand setofvariations.Mahlernotedthathe hadbeeninspiredbychurchsculptures, whichhadtheirarms“closedineternal peace.” Thelastmovementisasetting of DashimmlischeLeben (The HeavenlyLife)from DesKnaben Wunderhorn.Scoredforsoprano soloist, Mahler’sinstructionistosing “withchild-like,brightexpression,and withouttheslightestsuggestionof parody.’Afterashortorchestra prelude,fiveversesofthetext,sungby thesoprano,areintroduced,separated byvividorchestrainterludes representingtwodifferentworlds:a uniquedepictionofheavenandanda bitter,ironicpictureoflifeonearth. Bellsandshrillingflutesreturn portrayingthistimeadifferentvision thatisalmostviolent.Soon,aserene codaemerges,andtheorchestra graduallyfadesawayintoapeaceful voidofsilence.

TheHeavenlyLife from‘DesKnabenWunderhorn’

WirgenießendiehimmlischenFreuden, D'rumtunwirdasIrdischemeiden. Keinweltlich'Getümmel HörtmannichtimHimmel! LebtallesinsanftesterRuh'. WirführeneinenglischesLeben, Sinddennochganzlustigdaneben; Wirtanzenundspringen, Wirhüpfenundsingen, SanktPeterimHimmelsiehtzu.

JohannesdasLämmleinauslasset, DerMetzgerHerodesd'raufpasset. Wirführeneingeduldig's, Unschuldig's,geduldig's, EinlieblichesLämmleinzuTod.

SanktLucasdenOchsentätschlachten Ohn'einig'sBedenkenundAchten. DerWeinkost'keinHeller ImhimmlischenKeller; DieEnglein,diebackendasBrot.

Weenjoyheavenlypleasures andthereforeavoidearthlyones. Noworldlytumult istobeheardinheaven. Allliveingreatestpeace. Weleadangeliclives, yethaveamerrytimeofitbesides. Wedanceandwespring, Weskipandwesing. SaintPeterinheavenlookson.

Johnletsthelambkinout, andHerodtheButcherliesinwaitforit. Weleadapatient, aninnocent,patient, dearlittlelambtoitsdeath. SaintLukeslaughterstheox withoutanythoughtorconcern. Winedoesn'tcostapenny intheheavenlycellars; Theangelsbakethebread.

Gut'KräutervonallerhandArten, DiewachsenimhimmlischenGarten, Gut'Spargel,Fisolen Undwaswirnurwollen. GanzeSchüsselnvollsindunsbereit!

Gut'Äpfel,gut'Birn'undgut'Trauben; DieGärtner,diealleserlauben. WillstRehbock,willstHasen, AufoffenerStraßen Sielaufenherbei!

Sollt'einFasttagetwakommen, AlleFischegleichmitFreudenangeschwommen! DortläuftschonSanktPeter MitNetzundmitKöder ZumhimmlischenWeiherhinein. SanktMarthadieKöchinmußsein.

Kein'MusikistjanichtaufErden, Dieunsrerverglichenkannwerden. ElftausendJungfrauen Zutanzensichtrauen. SanktUrsulaselbstdazulacht. Kein'MusikistjanichtaufErden, Dieunsrerverglichenkannwerden. CäciliamitihrenVerwandten SindtrefflicheHofmusikanten! DieenglischenStimmen ErmunterndieSinnen, DaßallesfürFreudenerwacht.

Goodgreensofeverysort growintheheavenlyvegetablepatch, goodasparagus,stringbeans, andwhateverwewant.

Wholedishfulsaresetforus!

Goodapples,goodpearsandgoodgrapes, andgardenerswhoalloweverything! Ifyouwantroebuckorhare, onthepublicstreets theycomerunningrightup.

Shouldafastdaycomealong, allthefishesatoncecomeswimmingwithjoy. TheregoesSaintPeterrunning withhisnetandhisbait totheheavenlypond. SaintMarthamustbethecook.

Thereisjustnomusiconearth thatcancomparetoours. Eventheeleventhousandvirgins venturetodance, andSaintUrsulaherselfhastolaugh. Thereisjustnomusiconearth thatcancomparetoours. Ceciliaandallherrelations makeexcellentcourtmusicians.

Theangelicvoices gladdenoursenses, sothatallawakenforjoy.

Dr.ShokoKinsella

Piano

NativeofChiba,Japan,Dr.Shoko NakamuraKinsellaenjoysherdiverse careerasperformingartist,presenter, andteacher.Shehasextensively performedasarecitalist,concerto soloist,andchambermusician throughouttheUnitedStates,Italy,and Japan.Herpastconcertengagements includeasolorecitalinCarnegieHall's WeillRecitalHall,ValleySymphony Orchestra'sChamberMusicSeries,and ArtistPresentationSocietyinSt.Louis afterwinningtheAPSSolo Competition.Herconcerto appearancesincludeUniversityof CincinnatiOrchestraClub,and JeffersonCitySymphonyOrchestra, afterwinningtheJCSOConcerto Competition.

Asachambermusician,shehas appearedasguestartistatWestern IllinoisUniversity,EarlhamCollegein Indiana,JohnsonCountyCommunity CollegeinKansasCity,KansasPublic Radio,newmusicensemblein Cincinnati(INTY"It'sNewtoYou"), KansasCity(MusicaNova),Summer OperaandMusicFestivalinLucca, Italy,andnumerouscollaborative appearanceswithlargeandsmall ensembles,fromtraditionaltomodern

music.Shealsoservedasguestartist facultyofthesoundSCAPENewMusic FestivalinMaccagno,Italy.Her performanceshavebeenbroadcaston NPRaffiliatesnationwide.Sheisan activecollaborativepianistforfaculty andguestartistsrecitals.

Dr.ShokoKinsellaisalsoanactive presenternationallyandinternationally. Mostrecently,herlecturerecitalon PianoMusicfromJapan wasinvitedto presentattheNationalConferenceat theMTNA(MusicTeachersNational Association),andattheTMTA(Texas MusicTeachersAssociation),aswellas theInternationalPianoConference EncuentrodePianistasCostaRica,and LaFronteraInternationalPiano Conference.

Dr.ShokoKinsellaservesonthepiano facultyatUniversityofTexas-RioGrande Valley,CollegeofFineArtsSchoolof Music,wheresheteachesboth undergraduateandgraduatepiano studentsinAppliedPiano,Piano Literature,PianoPedagogy,Chamber MusicforPianocourses.Sheisanactive masterclassclinicianandregularly judgescompetitionsinternationallyand acrossthestate.Shereceivedher DoctorofMusicalArtsdegreeinPiano PerformancefromtheUniversityof Missouri-KansasCity,underthe instructionoftheartist-pedagogue RobertWeirich,withadditionaltraining byartistsincludingJeromeLowenthal, IvanMoravec,andAnthonyDeMare. Dr.ShokoKinsellaearnedherMaster's andBachelor's(magnacumlaude) degreesinPianoPerformancefrom UniversityofCincinnatiCollegeConservatoryofMusicasastudentof WilliamBlackandMichaelChertock, whereshewasnominatedforthe ExcellenceinTeachingAward.

Dr.ShaynaIsaacs

Soprano

Dr.ShaynaIsaacsisaPanAmerican VocologyAssociation–Recognized VocologistandAssistantProfessorof VoiceattheUniversityofTexasRio GrandeValley.Asaperformer,recent rolesincludeLaureyin Oklahoma! (MoonlightMusicals),Amahlin Amahl andtheNightVisitors (MusiconSite, Inc.),andLucyin TheBillyGoat’sGruff (AmarilloOpera).TheymadetheirOffBroadwaydebutasmusicdirectorand conductorof HereThereBeDragons at ThePlayersTheatreinNewYorkCity. Recentmusicdirectionandconducting creditsinclude RidetheCyclone,Fun Home,AnythingGoes,Hello,Dolly!, Jekyll&Hyde,IntotheWoods,and Pippin. IntheSpringof2025,they appearedinrecitalwithArtitudeInc. andtheDasBlümeleinProjectinVoices BeyondBoundaries,aconcert celebratingtransandgender nonconformingclassicalsingers.Dr. Isaacsisaleadingadvocateand researcheringender-inclusivevoice pedagogy.Theirworkexploresthe intersectionsofvoicehabilitationand queertheory,offeringpractical frameworksforteachingsingersacross thegenderspectrumandawidearray ofmusicalgenres.Acentralfocusof theirresearchinvestigatestheimpactof

chestcompressiongarmentsonsinging, particularlyfortransgenderandgender nonconformingsingers.Theyrecently presentedthefirstphaseofthisresearch, ExploringtheImpactofChestBinding onTransgenderandGender NonconformingSingers, atthe2024PanAmericanVocologyAssociation Symposium.Theirarticle, TheBound Breath:TransmasculineandGender NonconformingSingers’Perceived EffectsofChestBindingonSinging, was publishedintheJournalofVoiceinMay 2025.Dr.Isaacshaspresentednationally andinternationallyfororganizations includingtheNationalAssociationof TeachersofSinging(NATS),theMusical TheatreEducators’Alliance,theNational OperaAssociation,theCollegeMusic Society,andtheKennedyCenter AmericanCollegeTheaterFestival.Most recently,theypresentedalecturerecital titled QueeringtheStage:Exploring Gender,Voice,andQueerAgencyinthe WorksofMusicalTheatreComposer BreeLowdermilk atthe2025Musicby WomenFestivalinColumbus, Mississippi.Inadditiontotheirresearch andperformancework,Dr.Isaacsis dedicatedtomentoringthenext generationofvoiceprofessionals.Since 2023,theyhaveservedonthevoice facultyatBlueLakeFineArtsCamp, wheretheyworkwithyoungsingersinan immersive,interdisciplinaryarts environment.TheyalsoareVice PresidentofAuditionsandAssistant AuditionsChairfortheNATSSouth TexasChapter.Dr.IsaacsholdsaDoctor ofMusicalArtsinVoicePerformanceand aGraduateCertificateinOpera PerformancefromTexasTechUniversity, aswellasaMasterofMusicinVoice PerformancefromtheUniversityof Alabama.Theiracademicbackgroundis furtherenrichedbyadvancedtrainingat theNATSVoiceInternProgramandthe SummerVocologyInstituteatthe NationalCenterforVoiceandSpeech. Formore,follow @genderneutralvoicepedagogy on Instagram.

Dr.NORMANGAMBOA Conductor

NormanGamboaisMusicDirectorofthe SonomaCountyPhilharmonicin CaliforniaandtheBrownsvilleChamber OrchestrainTexas.HeisalsoDirectorof OrchestralActivitiesatTheUniversityof TexasRioGrandeValley,conductorofthe RioGrandeValleyBalletOrchestraand founderoftheRioGrandeYouth Symphony.Oneofthemostactive CentralAmericanconductors,his engagementsincludetheKansasCity Philharmonia,BemidjiSymphony,Topeka Symphony,IdahoStateCivicSymphony, WinchesterOrchestra,BayAreaRainbow Symphony,NewtonSymphony,San FranciscoCivicSymphony,andSalina Symphonyamongothers.Worldwide engagementsincluderenowned orchestrassuchastheZápadočesky Symfonicky (CzechRepublic),Orchestra FilarmoniciideStatPloieşti(Romania), OrquestaFilarmónicadeMedellín (Colombia),OrquestraSinfônicade RibeirãoPretoandOrquestraSinfônica EstadodeSãoPaulo(Brazil),Orquesta SinfónicaJuvenilMunicipalde Guatemala,OrquestaSinfónicadel EstadoMéridaandOrquestaSinfónica deLosLlanos(Venezuela),Orquesta SinfónicadeCuenca(Ecuador), CamerataBach(Nicaragua),aswellas theNationalSymphonyOrchestrasof

PuertoRico,CostaRica,Panama, Guatemala,NicaraguaandHonduras. Normanhaslednumerousjointventures withBalletMidwest,RioGrandeValley Ballet,AuroraDanceArts,NationalBallet ofNicaragua,SantaRosaDanceTheater, FiestaColoradoDanceCompany, EdinburgDanceTheatre,andKim RobardsDanceCompany,includingfully choreographedproductionsofRavel's Mamèrel'Oye, TheNutcracker,Fiesta Mexicana, PeterandtheWolf,The CarnivaloftheAnimals, and Cinderella, aswellasseveraloperaswiththeTopeka OperaSociety,UTRGVOpera,and OperaonTapColorado.Festival appearancesincludePilsen2015,FOSJA CasalsFestival,CentralAmericanFestival ofChamberMusic,Medellín InternationalMusicFestival,VillarricaArts Festival,CostaRicaInternationalFestival ofArts,BlueLakeFineArtsCamp, BregenzerFestspiele,LasVegasMusic Festival,OSESPOrchestraConductors Competition,theNewYorkBrass ConferenceandReginaMusic Conference.HeconductedtheYouth SymphonyOrchestraofEurope,aproject thatgathereddistinguishedmusic studentsfromconservatoriesallover Europe.Previously,heservedasMusic DirectorofthePowderRiverSymphony inWyoming,DirectorofOrchestral StudiesatWashburnUniversityinKansas, AssistantConductoroftheTopeka SymphonyOrchestra,Associate ConductoroftheLasVegasMusic Festival,AssistantConductorofthe WacoSymphonyOrchestraandMusic DirectoroftheWacoSymphonyYouth OrchestrainTexas.Winnerofthe2025 VytautasMarĳosiusMemorialAwardin OrchestralProgrammingforhisworkwith theUTRGVSymphonyOrchestra, Gamboahasservedasconductorand clinicianwithhonorstudentorchestras throughouttheMidwestandwestern UnitedStatesaswellasabroad,heholds orchestralconductingdegreesfromthe UniversityofNevadaLasVegasand LouisianaStateUniversity.

SymphonyOrchestra

NormanGamboa,Conductor

VIOLIN

AngelaLlanes, Concertmaster

AndrewTrevino, Assistantconcertmaster

LeahLoera, Principal

DominiqueAleman, Assistantprincipal

CristianContreras

VicenteCamacho

XimenaGarcia-Alanis

JeremiahGaytan

JazminGutierrez

AlvaroMartinez

XavierMunguia

RafaelRamirez

BellaReynoso

ValeriaRuiz

IsaacVargas

JameelZuñiga

VIOLA

JacobMartinez, Principal

CytlalyCoronado, Assistantprincipal

MaxDavila

AmairaniDelAngel

KatiaLuna

MiaMora

HarleyMassey

AlessandraSalazar

CELLO

SebastianGarcia, Principal

JairoGarza, Assistantprincipal

JamesCarpenter

ClarissaMartinez

EmmaValladares

MarcoVazquez

DOUBLEBASS

VianethBernardo-Pinon, Principal

MarisolMejia, Assistantprincipal

ZacharyLara

MaximilianoLopez

FLUTE&PICCOLO

Carlos Hernandez1

RamiroRaya

YarisellRodriguez2

JordanRuiz

OBOE

IsaacContreras1

LorenaCoronado2

VanessaMartinez

ENGLISHHORN

VanessaMartinez2

CLARINET

DanielHernandez2

KarlSchmidt

DiogoPerales1

BASSCLARINET

KarlSchmidt2

BASSOON

AracelyGarcia2

AlexHernandez1

HORN

BrittanyCruz1

SamuelGarcia

DanielGarza2

VictorMartinez

TRUMPET

ChristianRamirez2

DanielVela1

FabiolaAhuja

HARP

JamieWilkinson2

TIMPANI

AdamReyna1,2

PERCUSSION

MarcoGuerra

OscarMendez

MichelleMolina

RenePeynado

EricSalazar

ASSISTANTCONDUCTOR

RaymonCorrea

1 PrincipalinBeethoven

2 PrincipalinMahler