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