TABLE OF CONTENTS

MAHLER’S “RESURRECTION” XV September 20 & 21, 2019 (c) Todd Rosenberg (c) Todd GERSHWIN! XX October 4 & 5, 2019

REVOLUTION: XXVI THE MUSIC OF THE BEATLES. A SYMPHONIC EXPERIENCE November 1 & 2, 2019 SCHEHERAZADE XXVIII November 8 & 9, 2019 (c) Andrew Bogard (c) Andrew MOZART REQUIEM XXXIV November 22 & 23, 2019

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San Antonio Symphony I EDUCATION

The San Antonio Symphony’s education initiatives strive to establish lifelong learning for all ages and segments of our diverse community by promoting the enjoyment, understanding, and appreciation of symphonic music. Each season, we engage over 50,000 students through meaningful education programming, including our Young People’s Concerts, Open Rehearsals for Students, High School Residency Program and more.

YOUNG PEOPLE’S CONCERTS The San Antonio Symphony is proud to have one of the longest-running Young People’s Concert programs in the country. These 45-minute, school-day field trip performances have introduced area youth to live symphonic music since the 1940s. Programs are geared to grades 3-5 and designed to align with state teaching objectives for the Fine Arts and a rotating core subject area. Along with teaching materials and docent presentations provided in advance, these unique, multi-sensory presentations combine engaging symphonic music, visual enhancements, guest artistry, interactive components, and carefully-planned lecture to create meaningful student experiences that frequently sell out and consistently receive high ratings from attending teachers. • 28 performances, including at the Tobin Center and at 6 locations in area school districts • Over 100 classroom visits by docents and musicians • Over 37,000 students attending with 60% coming from Title 1 schools • Transportation assistance to over 125 schools and 27,000 students The Tobin Center for the Performing Arts is a Presenting Partner

OPEN REHEARSALS FOR STUDENTS Select Friday-morning dress rehearsals at the Tobin Center are open to school groups of middle school age and above at no cost. Students are given access to a unique, behind-the-scenes opportunity to witness first-hand how a professional ensemble rehearses. They do this while experiencing our Symphony and world-class guest artists up close with state-of-the-art acoustics. • Access for up to 11,000 students to experience our Symphony and Classic Series repertoire • Post-rehearsal “Talk Back” and Q&A with Music Director or a guest artist • On-screen visual enhancements, including live close-ups of musicians on stage

ADDITIONAL EDUCATION INITIATIVES • High School Residency Program provides ongoing instruction and strong mentoring relationships to support band, orchestra and mariachi students’ musical aspirations. • G6-8 Discovery Concerts create additional access for middle school students to experience the Symphony in presentations specifically tailored for grades 6-8. • Up to 120 “Free Student Group Tickets” to each of our Classics Concerts are available to Bexar County public middle and high school groups. • Family Concerts expose children ages 4-11 to symphonic music through interactive performances and pre-concert activities. • San Antonio Public Library children’s musician presentations (“Symphony at SAPL”) provide greater access to the community with mini-concerts at 30 library branches throughout the city.

It is our goal to cultivate the next generation of arts enthusiasts and to provide children in our community with multi-faceted, arts-engagement activities that will enrich and empower their lives.

II San Antonio Symphony San Antonio Symphony III SYMPHONY ROSTER

Sebastian Lang-Lessing Music Director Noam Aviel Associate Conductor Christopher Wilkins Music Director Emeritus

VIOLIN 1 VIOLA FLUTE Eric Gratz Allyson Dawkins Mark Teplitsky Elizabeth H. Coates Col. and Mrs. Ran Watson Principal Concertmaster Chair Principal Chair Jean Robinson Sarah Silver Manzke Yang Guo  Julie Luker Associate Concertmaster Alice Viola Winters Eidson Associate Principal Christine Wang Assistant Principal Chair Assistant Concertmaster Marisa Bushman PICCOLO Joan Christenson Amy Pikler Julie Luker Beth Girko  Daniel Wang Philip Johnson Haojian Wang  OBOE Bassam Nashawati Lin Wang Paul Lueders Anastasia Parker  Emily Watkins Freudigman  Ewing Halsell Foundation Laura Scalzo Assistant Principal Principal Chair Renia Shterenberg Vacant Andrew Small  CELLO Assistant Principal/ Craig Sorgi Kenneth Freudigman Second Oboe Mary Rohe Principal Chair Jennifer Berg VIOLIN II David Mollenauer Mary Ellen Goree Assistant Principal ENGLISH HORN Principal Barbara George Jennifer Berg Karen Stiles Holgen Gjoni Sarah Knapp Kidd Assistant Principal Morgen Johnson English Horn Chair Cleo Aufderhaar Angela Qizhen Liu Caporale Beth Johnson  Ryan Murphy CLARINET Judy Levine-Holley Ilya Shterenberg Eric Siu  BASS Denke-Griffin Fund for the Stephanie Teply Westney  Thomas Huckaby Symphony Principal Chair Aimee Toomes Lopez  Principal Stephanie Key Amy Venticinque  David Milburn Assistant Principal Assistant Principal Rodney Wollam Nicholas Browne James Chudnow E-FLAT CLARINET Zlatan Redzic Stephanie Key Steve Zeserman BASS CLARINET Rodney Wollam

IV San Antonio Symphony SYMPHONY ROSTER

BASSOON TROMBONE PERCUSSION Sharon Kuster Steve Peterson Riely Francis Principal Principal Principal Brian Petkovich James Seymour  David Reinecke Assistant Principal Assistant Principal Assistant Principal Ron Noble Derek Mitchell Bill Patterson Patrick Montgomery  CONTRABASSOON Assistant Principal HARP Ron Noble Rachel Ferris BASS TROMBONE Principal HORN Derek Mitchell Jeff Garza LIBRARIAN Principal TUBA Greg Vaught Peter Rubins Lee Hipp Principal Andrew Warfield Principal Allison Bates Associate Principal/ Associate Librarian Third Horn TIMPANI Hirofumi Tanaka  Peter Flamm MUSICIAN EMERITUS Principal Mark Ackerman TRUMPET Riely Francis Oboe John Carroll Assistant Principal Harvey Biskin Principal Timpani Lauren Eberhart Daniel Taubenheim Associate Principal/ Third Trumpet

 On Leave  Temporary  Acting  Voluntarily rotates between violin sections

San Antonio Symphony V SEBASTIAN LANG-LESSING Music Director

erman conductor Sebastian Lang-Lessing has been Music Director of the San Antonio GSymphony since 2010. The season 2019-20 starts with returns to the Tivoli Festival in Copenhagen, a recording of Mozart piano concerti in Odense with Anne-Marie McDermott. He will also return to the Korean National Opera for a new production of “The tales of Hoffmann”.

2018-19 season marked Lang-Lessing debuts with the Orchestre symphonique de Québec and Odense Symfoniorkester, and returns to the Norddeutsche Philharmonie Rostock, Orchestre symphonique et lyrique de Nancy, and an immediate re-invitation with the Korean National Opera conducting Guillaume Tell.

Lang-Lessing was Chief Conductor of the Orchestre symphonique et lyrique de Nancy and Artistic Director of the Nancy Opera, which, under his direction, was promoted to Opéra National de Lorraine. From 2004 until 2011, Mr. Lang-Lessing was Music Director of the Tasmanian Symphony Orchestra, which grew to become one of the leading orchestras in the Pacific Rim. With this orchestra, Sebastian Lang-Lessing built a comprehensive, award-winning discography, especially of Classical and Romantic repertoire. He appears regularly as guest conductor with leading French orchestras including the symphony orchestras of Bordeaux and Toulouse, as well as with leading orchestras in North America such as the Vancouver, Cincinnati, and Milwaukee Symphonies, and European orchestras including regular appearances with the Copenhagen Philharmonic and the symphony orchestras of Gran Canaria, Malaga, and Palermo.

Lang-Lessing, who received the Ferenc Fricsay Award when he was twenty-four years old, began his career at the Hamburg State Opera. Based on Sebastian’s work as assistant conductor to Gerd Albrecht in Hamburg, legendary stage director and opera manager Götz Friedrich engaged him as Resident Conductor at Deutsche Oper Berlin. Today, Sebastian Lang- Lessing regularly appears with the leading opera companies of the world, including those in Paris, Hamburg, San Francisco, Los Angeles, Washington, Oslo, Copenhagen, and Stockholm. His operatic repertoire is exceptionally wide, with seventy-five works ranging from Baroque to contemporary opera.

Maestro Lang-Lessing led the Philharmonia Orchestra in the 2013 recording performance for Renée Fleming’s Guilty Pleasures album (Decca). Other notable recordings have included the complete symphonies of Mendelssohn Bartholdy and Schumann with the Tasmanian Symphony, and the sensational re-discovery of the works of Joseph-Guy Ropartz with the Orchestre symphonique et lyrique de Nancy. Late 2017 saw the release of the DVD of his critically acclaimed production of Der Rosenkavalier from the NCPA in Beijing, and of a Christmas CD with Pavel Sporcl and the Royal Liverpool Orchestra.

Lang-Lessing has been at the forefront of educational programming for classical music with a younger audience, an area in which he has shown great passion and commitment with orchestras throughout the world.

VI San Antonio Symphony NOAM AVIEL Associate Conductor

oam Aviel is the Associate Conductor of the San Antonio Symphony, leading the Young NPeople’s Concerts, Pops Series, Community and Outreach concerts, and acting as the cover conductor for the Classics Series. She also conducts the Symphony in the annual, fully-staged production of Tchaikovsky’s The Nutcracker, in collaboration with Ballet San Antonio.

This past season, she proudly made her conducting debut with the Iceland Symphony Orchestra in Reykjavík.

An opera enthusiast, Aviel served as the Assistant Conductor at OPERA San Antonio. With them, she has assisted in productions of La traviata, La bohème, Macbeth, Carmen, Il barbiere di Siviglia, and Las Fundaciones de Béjar by Joseph Julian Gonzalez. She was also Music Director and Conductor of the opera A Dinner Engagement by Lennox Berkeley as part of the Illinois Festival Opera, and conducted performances of Street Scene by Kurt Weill at Illinois State University, where she served as Assistant Director of Orchestras. Aviel has served in Assistant Conductorships with Angels Vocal Art in Los Angeles and McCall SummerFest in Idaho.

Aviel holds a Master’s degree in Orchestral Conducting from Illinois State University and Bachelor’s degrees in Voice Performance and Orchestral Conducting from Tel Aviv University. She was also fortunate enough to participate as a Conducting Fellow at the Eastern Music Festival, working closely with Maestro Gerard Schwarz. A native of Israel, Aviel’s earliest performance experience was as a chorus member with the Israel Philharmonic Orchestra under the baton of Maestro Zubin Mehta.

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San Antonio Symphony VII A MESSAGE FROM THE BOARD CHAIR

ear Friends, DWelcome to the San Antonio Symphony’s 80th season! This year we are excited to celebrate the tenure of our brilliant Music Director, Sebastian Lang-Lessing and the artistic impact he’s had on our orchestra. We are also celebrating the 75th anniversary of the San Antonio Symphony Mastersingers. We felt it would be fitting to present Mahler’s triumphant Resurrection Symphony to mark these milestone anniversaries — the same work Sebastian and the San Antonio Symphony performed five years ago for our inaugural Classical Season concert in The Tobin Center for the Performing Arts.

There is so much to experience this season: symphonies of great composers including Brahms, Mozart, and Shostakovich, as well as exciting guest artists such as Aaron Diehl, Olga Kern, Pablo Sainz-Villegas, Kirill Gerstein, Anthony McGill, and the legendary Yefim Bronfman. If you haven’t yet subscribed I hope you will. Don’t miss it!

In addition to its thrilling performances on stage, our orchestra will continue its long-standing education and community engagement programs which reach over 55,000 students each year. From field trip education concerts in the Tobin and throughout our community to residency programs in local middle and high schools, our wonderful musicians make a difference on and off stage.

The San Antonio Symphony has accomplished a great deal over the last few seasons. I want to thank every musician onstage, every member of the staff, and my peers on the Symphony Board of Directors for their work and leadership. Much work remains to be done, and the Symphony needs your help and your advocacy. Together, we will make sure that our city remains home to great orchestral music and music education.

With warmest regards,

Kathleen Weir Vale

VIII San Antonio Symphony San Antonio Symphony IX SAN ANTONIO SYMPHONY MASTERSINGERS

he official chorus of the symphony, the San Antonio Mastersingers, celebrates their 75th anniversary of performance with this 2019-2020 season. The first symphony chorus to be created in Texas, Tthe Mastersingers brings 140 volunteer voices together from throughout the San Antonio area and from all walks of life, under the direction of Dr. John Silantien.

In 1944 Max Reiter, founding Music Director of the San Antonio Symphony, established the chorus to support opera productions presented by the Symphony. Today the highly acclaimed chorus is featured in several appearances with the Symphony during the season, presents independent performances in San Antonio and appears internationally.

In 1994 upon the 50th Anniversary of the chorus, then Mayor Nelson Wolff proclaimed the Mastersingers ‘one of the crown jewels within the San Antonio Arts community.” That same year, the Mastersingers travelled to Carnegie Hall to present Mozart’s Requiem, returning in 2008 to perform Mozart’s Solemn Vespers and returning in 2016 to premiere Robert Cohen’s Alzheimer’s Stories.

In the summer of 2013, the chorus toured major concert venues in Italy, highlighted by performances at the Vatican in Rome and the Basilica of San Marco in Venice. In 2015 the Mastersingers returned to Europe to perform in Lisbon, Seville, Madrid and Granada. In June 2016 the chorus toured France, performing at the American Cemetery in Normandy, at the Abbey Church of Mont St. Michel, and during the High Mass at Notre Dame Cathedral in Paris. Summer of 2020 will find the chorus touring Scotland, England and Wales.

DR. JOHN SILANTIEN Director

r. John Silantien, director of the San Antonio Symphony Mastersingers, begins his 36th season with the chorus in 2019-2020. In May 2018 he retired as Professor Emeritus from the University Dof Texas at San Antonio. Dr. Silantien has taught and conducted choirs on the secondary and collegiate levels in Texas, in the Washington, D.C. area and on the faulty of the Eastman School of Music in Rochester, New York. He holds a Doctor of Musical Arts degree from the University of Illinois. His awards include a Rockefeller grant for choral conducting at Aspen, Colorado and a Fulbright award for research in London, England. His orchestral conducting credits include performances with the San Antonio Symphony, the San Antonio Pops, and New York’s West Side Chamber Orchestra, as well as CD recordings of three Mozart piano concertos with the Moscow State Radio Orchestra. He made his Carnegie Hall debut in May 1994 conducting Mozart’s Requiem, returning in 2008 for a performance of Mozart’s Vespers. In May 2016, he conducted the Mastersingers in the Carnegie Hall premiere of Robert Cohen’s Alzheimer’s Stories.

Dr. Silantien has conducted the Mastersingers on international tours to Italy, Spain, Portugal and, most recently, to France where the group performed at the American Cemetery in Normandy, at the Abbey Church of Mont St. Michel, during High Mass at Notre Dame Cathedral in Paris, and at the prestigious Church of La Madeleine. He will lead the chorus on a tour of Scotland, England and Wales in the summer of 2020.

X San Antonio Symphony SAN ANTONIO SYMPHONY MASTERSINGERS

SOPRANOS ALTOS TENORS BASSES Judy Alexander Bonnie Anderson Jorge Alonso John Aydelott Rachel Austin Sarah Arce Isaac Chavez David Barge Tracey Bauer Diane Barnhart Duane Chimney Rick Bauer Abigail Belk Chancey Blackburn John Costello Curtis Bennett Mary Ann Buyukisik Celeste Brown Michael Duggan Vard Freeman Tracy Boyd Andrea Chionsini Richard Furst Erik Garcia Marcie Chapa Evelyn Dittmar James Garcia John Gelsinger Marilyn Chatmon Jamie Drook Dan Goetz Michael Gelsinger Alyssa Darwin Melva Edwards Tom Guggolz Javier Gonzalez Lisa Decker Alex Flores Allen Hime Brandon Green Lois Guckian Carole Gish John Hyland Jim Harnish Melissa Hartshorn Taylor Gusky Beyung Jung Chris Harrison Sarah Harvey Joanna Harrison John Li Bill Harrison Debby Heitzke Jane Hughes Carl Lloyd David Johnson Brooke Holyoak Gail Jarratt Jessie Lopez Jay Lehman Mary Homan Janet Jensen Eduardo Magallanez Kris Lenderman Melissa Horton Reva Kaden Shaun McChesney Jack Lenox Jeanine Johnson Kelly leary Philip McCraw Brian Moffatt Jane Key Lisa Lynde Todd McDaniel Brendan Nadeau Vicke King Glynda Marrow Lee Miller David Mendez Dana Manning Cecilia Martinez Francisco Moran Peter O'Brien Cindy Marini Emily McChesney Scott Mortensen Kirby Olson Andrea Melcher Marguerite McCormick Andrew Murphy Sean Oslin Melissa Mentzer Kimberly Mendez Trevor Phillips Kenneth Pelton Mary Morrow Margaret Miller Tim Pieper Josep Peralba Pippa Molyneux Jane Mims Jim Robison Dylan Ramirez Lisa Owens Sonja Mullerin Lance Schulze Mark Robeck Amy Oxley Loretta Osborne Michael Smith Stephan Rogers Erin Palermo Becky Paul Greg Street Joseph Scardetta Ann Marie Quinones Kristeen Pierce Lynda Sudduth David Uminski Sharon Roberts Kelli Rhodes Jon Waughtal Meredith Schilling Jo Sherrill Jeffrey Williams Joy Schwarz Michele Sipes Cynthia Smith Mandi Sooy Irma Taute Charlene Taub Sarah Tedesco Lindsey Vande Hey Sara Toudouze Norma Villarreal Rebecca Vidal Wynne Wong Gail Wettstein

Accompanist: Mary Lowder

San Antonio Symphony XI

SAN ANTONIO SYMPHONY PRESENTS MAHLER’S “RESURRECTION”

September 20 & 21, 2019 | 8:00 PM HEB Performance Hall The Tobin Center for the Performing Arts

Sebastian Lang-Lessing, conductor Deanna Breiwick, soprano J’Nai Bridges, mezzo-soprano San Antonio Symphony Mastersingers John Silantien, director

MAHLER Symphony No. 2 in C Minor, “Resurrection” Allegro maestoso Andante moderato In ruhig fliessender Bewegung Urlicht Im Tempo des Scherzo

San Antonio Symphony XV MAHLER’S “RESURRECTION” September 20 & 21, 2019

GUSTAV MAHLER Mahler wrote symphonies at a time when audiences (Born on July 7, 1860 in Kaliště, Bohemia; expected a sort of written explanation of the Died on May 18, 1911 in Vienna, Austria) music—a “program.” Although he provided copious explanations of his Second Symphony, it wasn’t Symphony No. 2 in C Minor, without objection: “Resurrection” It only gives a superficial indication, all that any program can do for a musical work, let alone this Premiered: December 13, 1895 in Berlin, Germany one, which is so much all of a piece that it can no more be explained than the world itself. I’m quite Orchestration: soprano and alto soloists, mixed sure that if God were asked to draw up a program chorus, 4 flutes with 4 piccolos, 4 oboes with of the world He created He could never do it. 2 English horns, 4 clarinets with bass clarinet At best it would say as little about the nature and 2 piccolo clarinets, 3 bassoons with of God and life as my analysis says about my 2 contrabassoons, 10 horns, 8 trumpets, C-minor symphony. 4 trombones, 1 tuba, 2 harps, organ, 7 timpani, 2 bass drums, snare drums, cymbals, 2 triangles, Nevertheless, after the premiere of the symphony glockenspiel, 2 tam-tams, rute, 3 deep bells, first Mahler provided at least three distinct programs. and second violins, violas, cellos and basses Henry-Louis de La Grange’s masterful and all- encompassing biography offers them all. Here is Duration: 80 minutes an amalgamation:

By 1888, Gustav Mahler already had many I have called the first movementTotenfeier and, successful conducting jobs. In just eight years if you are interested, it is the hero of my First he had conducted the opera companies of Bad Symphony who is being carried to his grave Hall, Ljubljana, Iglau, Olmütz, Kassel, and Prague. and whose life I imagine I can see reflected in Now he was the number two conductor in Leipzig. a mirror from a high watchtower. At the same There he completed the project of resurrecting time the big question is being asked: Wherefore Carl Maria von Weber’s unfinished opera Die drei hast thou lived? Wherefore hast thou suffered? Pintos. He was also working on two compositions Is it all some great, fearful joke? We must simultaneously. The first was his Symphony No. 1, answer these questions in some way if we are later called “The Titan.” The second was a to continue living. . . . The man in whose life this continuation of the idea of the first, but this time call resounds must give an answer, and I give it as a symphonic poem called Todtenfeier—“Funeral in the last movement. Rite.” He eventually put the Todtenfeier aside in favor of finishing the First Symphony; after this The second and third movements are conceived he moved to Budapest and then on to Hamburg. as an interlude: the second a memory! A ray of Five years later, he realized that the symphonic sun, clear and untroubled, from the hero’s life. poem was just right for the first movement I am sure you have experienced this while you of a new symphony, so he wrote four more were carrying to his grave someone who was movements to complete what is now known at his near to your heart; perhaps on the way back Resurrection Symphony. there suddenly appeared the image of an hour of happiness long passed, which lit up your soul and which no shadow can spoil.

XVI San Antonio Symphony MAHLER’S “RESURRECTION” September 20 & 21, 2019

When you awaken from this melancholy dream The last movement starts with the same dreadful and must return to life’s confusion, it can death cry which ended the Scherzo. And now, easily happen that the ceaseless agitation, after these frightening questions, comes the the meaningless bustle of life, seems to you answer, redemption. To begin with . . . the day of unreal, like dancing forms in a brightly lit judgment, a huge tremor shakes the earth. Then ballroom: you watch them from the darkness the last trump sounds. The graves burst open, and from a distance, so that you cannot hear the all the creatures struggle out of the ground, accompanying music! And so life seems without moaning and trembling. Now they march in meaning, a fearful nightmare from which you mighty processions. . . . Finally, after they have awaken with a cry of horror. left their empty graves and the earth lies silent and deserted, there comes only the long-drawn Mahler orchestrated a folk song from the collection note of the bird of death. Even he finally dies. Des Knaben Wunderhorn (The Youth’s Magic Horn) for the fourth movement of the symphony: “In What happens now is far from expected: no Urlicht the questions and struggle of the human divine judgment, no blessed and no damned, soul for God, as well as its own divine nature and no Good and no Evil, and no judge. Everything existence, come to the forefront.” has ceased to exist. Soft and simple, the words gently swell up. . . . Here the words suffice as It was at the funeral of the great conductor Hans commentary and I will not add one syllable. von Bülow that Mahler got the inspiration for the The big crescendo which starts at this point is last movement. He heard Friedrich Klopstock’s so tremendous and unimaginable that I do not Resurrection Ode at the service. “It struck me myself know how I achieved it. like lightning,” Mahler wrote, “everything was revealed to my soul, clear and plain.” He took part ©2019 John P. Varineau of Klopstock’s Ode, added his own words to it, and included it in the grand finale:

San Antonio Symphony XVII GUEST ARTISTS

Deanna Breiwick, As an Ensemble member of Opernhaus Zürich, soprano Deanna performed a variety of roles: Carolina (Il matrimonio segreto), Elisa (Il Re Pastore), American soprano Deanna Marzelline (Fidelio), Papagena (Die Zauberflöte), Breiwick, hailed by The New and Frauke Beeke Hansen in the world premiere York Times for her “sweet of Das Gespenst von Canterville. Roles for the sound and floating high 2015/16 season included Madame Silberklang notes” and for being a “vocal (Der Schauspieldirektor), Adelaide (The Enchanted trapeze artist,” is enjoying Pig), a Shepherdess and Amor (King Arthur), and (c) Daniel Volland an exciting and diverse Dorinda (Orlando). career. A series of house and role debuts encompass Ms. Breiwick’s 2018/19 Previous engagements for Ms. Breiwick include season. She will return to the Metropolitan Opera Mabel (Pirates of Penzance) and Johanna (Sweeney as a Shadow in the North American premiere of Todd) with Opera Theatre of Saint Louis. With the Nico Muhly’s Marnie, conducted by Robert Spano, Metropolitan Opera, Ms. Breiwick covered the role debut with Michigan Opera Theatre as Gretel in of Ariel in the premiere of The Enchanted Island Humperdinck’s Hansel und Gretel and Rosasharn and was a featured soloist in the company’s in Ricky Ian Gordon’s The Grapes of Wrath, debut Summer Recital Series. With the Juilliard opera Adina in Donizetti’s L’Elisir d’Amore with Opera she has performed the role of Norina, Sophie Omaha, debut the role of Cunegonde in Candide Scholl in the American premiere of Peter Maxwell for a return to Des Moines Metro Opera, and Norina Davies’ Kommilitonen!, and Thérese in Les in Don Pasquale for a house debut with Berkshire mamelles de Tirésias. She sang the role of Clizia Opera Festival. in Handel’s Teseo with Chicago Opera Theatre. As a fellow of the Aspen Music Festival, she In the 2017/18 season, Ms. Breiwick returned sang the role of Nannetta, and was the soprano to Opernhaus Zürich, performing Drusilla in soloist in Mendelssohn’s Midsummer Night’s Monteverdi’s L’incoronazione di Poppea. She also Dream. Under the direction of David Robertson, made her Metropolitan Opera stage debut, first Ms. Breiwick made her Zankel Hall debut singing as La Charmeuse in Massenet’s Thaïs, and then the title role of Mozart’s Zaide. She has been as a Flower Maiden in Wagner’s Parsifal, a new featured as the title role in Handel’s Clori, Tirsi production conducted by Yannick Nézet-Séguin. e Fileno with Juilliard 415 and under the baton Other debuts included Opera Philadelphia as of Nicholas McGegan, and has performed with Aveline Mortimer in Elizabeth Cree. Concert debuts conductor William Christie in a performance included Seattle Symphony and New Choral Society of Handel’s Saeviat tellus. As a fellow of the in Scarsdale, NY for Messiah, Orff’s Carmina Tanglewood Music Center she also sang the Burana in a joint project with the Charleston role of Najade (Ariadne auf Naxos). Additional Symphony and Nashville Ballet, as well as with the roles include Une Bergere with the Met+Juilliard El Paso Choral Society, and the Israelite Woman in production of Armide, Sr. Constance (Dialogues Handel’s Judas Maccabaeus with the International des Carmélites) with The Mannes Opera, as well as Handel Festival in Göttingen, Germany. Ms. Breiwick two opera premiers as part of VOX with New York also presented solo recitals in El Paso, Texas and City Opera. Chicago, Illinois, the latter with close collaborator Julie Coucheron. Deanna Breiwick is a Metropolitan Opera National Council Grand Finalist, a Grand Prize Winner of In the 2016/17 season, Deanna Breiwick returned the Sullivan Foundation Vocal Competition, and a to the United States after several years in Europe First Prize Winner of the Gerda Lissner Foundation as an Ensemble member of Opernhaus Zürich, International Vocal Competition. She also holds performing Nannetta in Verdi’s Falstaff with Des awards from the George London Foundation, the Moines Metro Opera, Rosasharn with Opera Theatre Giulio Gari Foundation, the Licia Albanese-Puccini of St. Louis, Gilda in Rigoletto with Palm Beach Foundation, and the Richard F. Gold Career Grant. Opera and Despina in Mozart’s Così fan tutte with Ms. Breiwick is a native of Seattle, WA and holds Opera Omaha. She returned to Opernhaus Zürich degrees from The Juilliard School and Mannes in the winter of 2016 as Dorothy in Pierangelo College of Music. Valtinoni’s Der Zauberer von Oz (The Wizard of Oz). Concert appearances included Fauré’s Requiem with the San Antonio Symphony.

XVIII San Antonio Symphony GUEST ARTISTS

J’Nai Bridges, Bridges opens her season with her Tanglewood mezzo-soprano Festival debut, performing Beethoven’s Ninth Symphony with the Boston Symphony Orchestra. J’Nai Bridges, known for She continues her concert repertoire by making her “plush-voiced mezzo- her debut with San Antonio Symphony in Mahler’s soprano” (The New York Symphony No. 2, and debuting with the New Jersey Times), has been heralded Symphony in Handel’s Messiah. Bridges also as “a rising star” (Los performs an art song recital with the Philadelphia Angeles Times), gracing Chamber Music Society, and closes her season by (c) S. Richards the world's top stages. Her making her debut at the BBC Proms at the Royal 2019-2020 operatic engagements in the U.S. Albert Hall in Beethoven’s Ninth Symphony with this season include her debut at The Metropolitan Chineke! Orchestra and Friends. Opera, singing the role of Nefertiti in Philip Glass’ opera Akhnaten, and her house and role debut at Washington National Opera performing Dalila in Samson et Dalila. Bridges will sing the title role of Carmen for the first time in Europe at the Dutch National Opera and will make her debut with the Festival d’Aix-en-provence singing Margret in a new production of Wozzeck, conducted by Sir Simon Rattle.

San Antonio Symphony XIX SAN ANTONIO SYMPHONY PRESENTS GERSHWIN!

October 4 & 5, 2019 | 8:00 PM HEB Performance Hall The Tobin Center for the Performing Arts

Joshua Weilerstein, conductor Aaron Diehl, piano

SHAW Entr’acte for Strings

GERSHWIN Concerto in F major for Piano and Orchestra Allegro Adagio – Andante con moto Allegro agitato

INTERMISSION

MENDELSSOHN Symphony No. 3 in A Minor, Op. 56, “Scottish” Andante con moto – Allegro un poco agitato Vivace non troppo Adagio Allegro vivacissimo – Allegro maestoso assai

Sponsored by The San Antonio Symphony League

XX San Antonio Symphony GERSHWIN! October 4 & 5, 2019

CAROLINE SHAW Entr’acte was written in 2011 after hearing the (Born on August 1, 1982 in Greenville, Brentano Quartet play Haydn’s Op. 77 No. 2 — North Carolina) with their spare and soulful shift to the D-flat major trio in the minuet. It is structured like a Entr’acte for Strings minuet and trio, riffing on that classical form but taking it a little further. I love the way some music Premiered: April 2011, Princeton University (like the minuets of Op. 77) suddenly takes you to the other side of Alice’s looking glass, in a kind Orchestration: string orchestra composed of absurd, subtle, technicolor transition. of first and second violins, violas, cellos, and basses ©2019 Caroline Shaw and John P. Varineau

Duration: Eleven minutes GEORGE GERSHWIN (Born on September 26, 1898 in Brooklyn, When Caroline Shaw won the Pulitzer Prize for New York; Died on July 11, 1937 in music in 2013, she was 30 years old and the Los Angeles, California) youngest winner in the history of that prize. The award-winning work was Partita for 8 Voices which Concerto in F she wrote for the group Roomful of Teeth. Caroline’s main musical focus in her childhood was the Premiered: December 3, 1925 in New violin (although she also started composing when York City she was ten). She received both her Bachelor’s (Rice University) and Master’s (Yale) degrees in Orchestration: solo piano with 2 flutes and violin and then went to Princeton for a Doctorate piccolo, 2 oboes and English Horn, 2 clarinets in composition. and bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, In her vastly varied career she is a vocalist in bells, xylophone, snare, wood block, whip, crash Roomful of Teeth, plays violin in the American cymbals, suspended cymbal, triangle, gong, first Contemporary Music Ensemble, currently teaches and second violin, violas, cellos and basses at NYU, and is a Creative Associate at the Juilliard School. In addition, she has produced for Kanye Duration: 31 minutes West (The Life of Pablo; Ye) and Nas (NASIR), and has contributed to records by The National and The composers Igor Stravinsky, John Philip Sousa, Arcade Fire’s Richard Reed Parry. She appeared and Sergei Rachmaninoff were present at Paul as herself in the fourth season of Amazon Prime’s Whiteman’s “An Experiment in Modern Music.” Mozart in the Jungle. On her website she remarks The violinists Jascha Heifetz and Fritz Kreisler that she once “got to sing in three part harmony were there. And so were the conductors Leopold with Sara Bareilles and Ben Folds at the Kennedy Stokowski and Walter Damrosch. The hit of the Center, and that was pretty much the bees’ knees evening was George Gershwin’s Rhapsody in Blue. and elbows.” She “loves the color yellow, otters, Beethoven opus 74, Mozart opera, Kinhaven, Damrosch, the conductor of the New York Symphony the smell of rosemary, and the sound of a Society (later called the New York Philharmonic), janky mandolin.” was so impressed that the next day he contacted Gershwin and asked him to write a concerto for The Entr’acte that you are hearing tonight is an piano and orchestra. Gershwin immediately agreed adaptation of an earlier work for string quartet for and, in his own words, promptly went out and got the Boston-based contemporary music chamber “four or five books on musical structure to find orchestra A Far Cry. About that earlier piece, out exactly what the concerto form really was!” Caroline Shaw writes: Gershwin never had really written for an orchestra

San Antonio Symphony XXI GERSHWIN! October 4 & 5, 2019 before—he had always left that chore of scoring The second movement has a poetic nocturnal his music to someone else. (Ferde Grofé of Grand atmosphere which has come to be referred to Canyon Suite fame scored Rhapsody in Blue for as the American blues, but in a purer form than orchestra.) However, the concerto was going to be that in which they are usually treated. The final his own work, so Gershwin also got a copy of Cecil movement reverts to the style of the first. It is an Forsyth’s standard textbook Orchestration and orgy of rhythms, starting violently and keeping to taught himself how to write for an orchestra. the same pace throughout.

Gershwin had two Broadway musicals on the front ©2019 John P. Varineau burner, so he couldn’t get to the concerto right away; but by the summer of 1925 he was well into FELIX MENDELSSOHN the concerto and had it finished by September. At (Born on February 3, 1809 in Hamburg, Germany; the premiere on December 3, 1925, in Carnegie Died on November 4, 1847 in Leipzig, Germany) Hall, Walter Damrosch introduced the work to the audience with these words: Symphony No. 3 in A Minor, Op. 56 (“Scottish”) Various composers have been walking around jazz like a cat around a plate of soup, waiting for it to cool off so that they could enjoy it without Premiered: March 3, 1842 in Leipzig, Germany burning their tongues, hitherto accustomed only to the more tepid liquids distilled by Orchestration: 2 flutes, 2 oboes, 2 clarinet, cooks of the classical school. Lady Jazz . . . has 2 bassoon, 4 horns, 2 trumpets, timpani, first encountered no knight who could lift her to a and second violins, violas, cellos and basses level that would enable her to be received as a respectable member of music circles. George Duration: 38 minutes Gershwin seems to have accomplished this miracle. He has done it boldly by dressing his Before Felix Mendelssohn turned 15, he had extremely independent and up-to-date young already written twelve symphonies! Soon after that, lady in the classic garb of a concerto. Yet he he produced two glittering works: his Midsummer has not detracted one whit from her fascinating Night’s Dream Overture and the String Octet—both personality. He is the Prince who has taken permanent members of the classical repertoire. At Cinderella by the hand and openly proclaimed the end of his teenage years, after he completed his her a princess to the astonished world, no doubt “home-schooling,” his father sent Felix on a grand to the fury of her envious sisters. tour of Europe, beginning in England and Scotland.

George Gershwin provided his own description of He and his friend Karl Klingemann visited the the Concerto in F to the New York Herald: famed novelist Sir Walter Scott. In June they were in Edinburgh, where they took in the lore of Queen The first movement employs the Charleston Mary and her personal secretary (and possible rhythm. It is quick and pulsating, representing lover), David Rizzio. In a letter home, he described the young enthusiastic spirit of American life. the scene: It begins with a rhythmic motif given out by the kettledrums, supported by other percussion We went to the palace of Holyrood where Queen instruments, and with a Charleston motif Mary lived and loved. There is a little room to be introduced by horns, clarinets and violas. The seen there with a winding staircase leading up principal theme is announced by the bassoon. to it. This, the murderers ascended and, finding Later, a second theme is introduced by the piano. Rizzio, drew him out. Three chambers away is where they killed him . . . Everything is broken and moldering and the bright sky shines in. I believe I found today in the old chapel the beginning of my Scottish Symphony.

XXII San Antonio Symphony GERSHWIN! October 4 & 5, 2019

Mendelssohn and Klingemann then journeyed somewhat disquieting in mood. The theme grows farther north. The Highlands “brew nothing but into a real tempest and then dissolves into a more whiskey, fog, and foul weather,” Mendelssohn lyrical second melody. Solemn chords announce the commented. By August, the friends were in Oban, development section that works with the stormier on the west coast of Scotland, and on the island of elements of both the first and second themes. An Jaffa, where Mendelssohn got the inspiration for his even stormier episode follows a full restatement Hebrides Overture. of the principal themes. The solemn introduction returns to usher in, without any pause, the By the following year, Mendelssohn was in Italy. next movement. Keeping the folks at home up to date he wrote, “The loveliest time of the year in Italy is the period The second movement is a blistering dance-like from April 15 to May 15. Who then can blame me piece, full of barely containable joy. It proceeds for not being able to return to the mists of Scotland? directly into the slow movement. The music here I have therefore laid aside the symphony for the alternates between a beautiful singing melody present.” Actually, it was more like ten years before and a stern, rigorous one. Mendelssohn marks the he got around to completing his Scottish Symphony. last movement allegro guerriero—fast and warlike; Meanwhile, he wrote three other symphonies. however, it is not without those elfin-like moments First was the Reformation Symphony (Symphony that permeate so much of Mendelssohn’s music. No. 5), then his Italian Symphony (Symphony No. 4), The symphony ends with a joyful solemnity. and finally the Lobegesang (Symphony No. 2). (Mendelssohn’s symphonies are numbered How much of Scotland can you hear in this according to when he published them, not when “Scottish” symphony? Be careful! When he wrote them.) Mendelssohn’s contemporary Robert Schumann first heard this piece, someone tricked him by When he came back to the symphony, he used the saying it was the Italian symphony! Schumann was music that he wrote at Holyrood as an introduction convinced: "It is so beautiful as to compensate for to the first movement. It is somber and moody a hearer who has never been to Italy." in character. The clarinet and violins then get to introduce the main theme of the movement, itself ©2019 John P. Varineau

San Antonio Symphony XXIII GUEST ARTISTS

Joshua Weilerstein, Aaron Diehl, conductor piano

Joshua Weilerstein is the A 33-year-old classically Artistic Director of the trained pianist and Orchestre de Chambre de composer, Aaron Diehl has Lausanne, known for his made an indelible mark on clarity of musical expression the jazz world over the last and natural musicianship. 15 years. While showing a He enjoys a flourishing rare affinity for early jazz guest conducting career and has established a and mid-20th century “third-stream” music, his number of close relationships in both the U.S. latest evolution comes as he begins to tackle and Europe, including the symphony orchestras modern classical works, having performed George of Detroit, Milwaukee, Baltimore, and New York Gershwin’s piano and orchestra works with (where he was formerly assistant conductor), the NY Philharmonic, Cleveland Orchestra, LA the Oslo Philharmonic, NDR Radiophilharmonie, Philharmonic, and Minnesota Orchestra. Royal Stockholm Philharmonic Orchestra, Danish National Symphony Orchestra, and BBC Symphony, Diehl has collaborated with living masters ranging among others. from jazz greats Wynton Marsalis and Benny Golson to 20th century classical titan Philip Glass. He has Recent and upcoming debuts include the established himself as one of the preeminent Philadelphia Orchestra, Cincinnati Symphony, New interpreters of the Great American Songbook in his World Symphony, San Antonio Symphony, Chamber working trio and as musical director and arranger Orchestra of Europe, BBC National Orchestra of for the remarkable vocalist Cécile McLorin Salvant. Wales, and his operatic debut with Cosi fan tutte at the Opera de Lausanne. In the 2019/20 season, The New York Times jazz critics have have Weilerstein returns to Orchestre Philharmonique extolled Mr. Diehl’s “melodic precision, harmonic de Radio France, Tonhalle Orchestra Zürich, erudition, and elegant restraint,” while the same Finnish Radio Symphony Orchestra, Royal paper’s classical critics have noted, “Mr. Diehl Liverpool Philharmonic Orchestra, and London play[s] magnificently.” Philharmonic Orchestra. A graduate of Juilliard, Diehl was named the 2011 Weilerstein’s enthusiasm for a wide range of Cole Porter Fellow by American Pianists Association, repertoire is combined with an ambition to in 2014 became the youngest ever Monterey Jazz bring new audiences into the concert hall. He Festival Commission Artist and has released two is committed to music education and hosts a critically acclaimed albums on the Mack Avenue successful podcast, Sticky Notes. He tries cultivate Records label. He was the Music Director for open communication between the stage and Jazz at Lincoln Center’s 2014-2015 New Orleans audience, and welcomes conversations about all Songbook series and in 2017 participated in Jazz aspects of classical music, programming, and the in July’s “The Art of Tatum,” honoring one of his experience of concert-going. primary piano idols, Art Tatum.

FACEBOOK: www.facebook.com/joshuaweilerstein When he isn’t on tour or recording, Diehl enjoys spending time in the sky. A licensed pilot, one of TWITTER: @joshweilerstein his favorite planes to fly is the Beechcraft Bonanza.

XXIV San Antonio Symphony San Antonio Symphony XXV SAN ANTONIO SYMPHONY PRESENTS REVOLUTION: THE MUSIC OF THE BEATLES. A SYMPHONIC EXPERIENCE

A Schirmer Theatrical/Greenberg Artists Co-Production Arrangements by Jeff Tyzik

November 1 & 2, 2019 | 8:00 PM HEB Performance Hall The Tobin Center for the Performing Arts

Noam Aviel, conductor

GNIK NUS originally released on Love (2006) BECAUSE originally released on Abbey Road (1969) GET BACK originally released on Let It Be (1970) TICKET TO RIDE originally released on Help! (1965) DRIVE MY CAR originally released on Rubber Soul (1965) YESTERAY originally released on Help! (1965) PENNY LANE originally released on Magical Mystery Tour (1967) THINGS WE SAID TODAY originally released on Hard Day’s Night (1964) LADY MADONNA originally released on Past Masters: Volume Two (1988) FLYING originally released on Magical Mystery Tour (1967) IN MY LIFE originally released on Rubber Soul (1965) I’VE JUST SEEN A FACE originally released on Help! (1965) ELEANOR RIGBY originally released on Revolver (1966) HELLO, GOODBYE originally released on Magical Mystery Tour (1967) HERE COMES THE SUN originally released on Abbey Road (1969) HEY JUDE originally released on Past Masters: Volume Two (1988)

INTERMISSION

TOMORROW NEVER KNOWS originally released on Revolver (1966) THE FOOL ON THE HILL originally released on Magical Mystery Tour (1967) GOT TO GET YOU INTO MY LIFE originally released on Revolver (1966) MAXWELL’S SILVER HAMMER originally released on Abbey Road (1969)

XXVI San Antonio Symphony SAN ANTONIO SYMPHONY PRESENTS REVOLUTION: THE MUSIC OF THE BEATLES. A SYMPHONIC EXPERIENCE

WITH A LITTLE HELP FROM MY FRIENDS originally released on Sgt. Pepper’s Lonely HeartsClub Band (1967) COME TOGETHER originally released on Abbey Road (1969) SOMETHING originally released on Abbey Road (1969) YOU WON’T SEE ME originally released on Rubber Soul (1965) I AM THE WALRUS originally released on Magical Mystery Tour (1967) LET IT BE originally released on Let It Be (1970) GOLDEN SLUMBERS/ CARRY THAT WEIGHT/THE END originally released on Abbey Road (1969) TWIST AND SHOUT originally released on Please Please Me (1963)

ALL ARRANGEMENTS LICENSED TO G. SCHIRMER AND/OR SCHIRMER THEATRICAL, LLC, BY SONY/ATV MUSIC PUBLISHING LLC AND HARRISONGS LTD, C/O THE BICYCLE MUSIC COMPANY ALL IMAGES OF THE BEATLES LICENSED FROM ADAMS MEDIA WORK LTD, OWNER OF THE BEATLES BOOK PHOTO LIBRARY ALL OTHER IMAGERY LICENSED FROM RESPECTIVE RIGHTS HOLDERS AND/OR THEIR LICENSING AGENTS

THE SHOW IS NOT ENDORSED BY OR CONNECTED TO APPLE CORPS OR THE BEATLES.

Creative Team Robert Thompson, Creative Producer Jeff Tyzik, Producer & Arranger Jami Greenberg, Producer & Booking Agent Alyssa Foster, Producer Mary Helen Gustafson, Assistant Producer Ilana Becker, Stage Direction Alek Deva, Technical Supervisor (Black Ink Presents) Mike Kasper, Assistant Technical Supervisor (Black Ink Presents) Paul Bevan, Sound Designer Charles Yurick, Projection Designer (Tour de Force) Bill Dwyer, Associate Motion Graphics Designer Adam Grannick, Video Designer (Pre-Concert and Intermission) Braulio Barquero, Video Designer for “Blackbird” Andy Roninson, Synth Consultant Jeff Sugg, Production Consultant (Handmade Media, LLC) Casting by Laura Stanczyk, CSA

A portion of the proceeds from productions of Revolution: The Music of The Beatles. A Symphonic. Experience will be donated to the Penny Lane Development Trust (PLDT), a charitable community centre located in Liverpool, UK, offering an engaging environment to tourists and locals alike. In addition to hosting exercise classes and youth projects in theatre and music, the Trust features a number of Beatles-inspired installations including a “Penny Lane Wonderwall,” a “Sign Wall,” “Octopus Garden,” and “Penny Lane Gate.”

San Antonio Symphony XXVII SAN ANTONIO SYMPHONY PRESENTS SCHEHERAZADE

November 8 & 9, 2019 | 8:00 PM HEB Performance Hall The Tobin Center for the Performing Arts

Kensho Watanabe, conductor Zoltán Fejérvári, piano

RAVEL Suite from Ma Mère l’Oye Pavane de la Belle au bois dormant Petit Poucet Laideronnette, Impératrice des Pagodes Les Entretiens de la Belle et de la Bête Le Jardin féerique

BARTÓK Concerto No. 3 in E Major for Piano and Orchestra Allegretto Adagio religioso Allegro vivace

INTERMISSION

RIMSKY-KORSAKOV Scheherazade, Op. 35 The Sea and Sinbad’s Ship The Tale of Prince Kalendar The Young Prince and the Princess The Festival at Bagdad; The Sea; The Ship Goes to Pieces on a Rock

XXVIII San Antonio Symphony SCHEHERAZADE November 8 & 9, 2019

MAURICE RAVEL Pavane of the Sleeping Beauty introduces Sleeping (Born on March 7, 1875 in Ciboure, France; Beauty with a short, slow, and stately procession. Died on December 28, 1937 in Paris, France) Tom Thumb tells the story of the little boy who drops bread crumbs to leave himself a path out Suite from “Ma Mère l’Oye” of a forest. You can hear little Tom’s wanderings (Mother Goose) by the constantly shifting meter of the music. High harmonics played by the violins imitate the birds, while the oboe and English horn suggest Premiered: as a piano duet on April 20, 1920 in Tom’s crying. Paris, France; fully orchestrated and as a full ballet on January 29, 1912 in Paris Ravel gave a written description of Laideronnette, Empress of the Pagodas (small porcelain Chinese Orchestration: 2 flutes with piccolo, 2 oboes figurines with grotesque features): with English horn, 2 clarinets, 2 bassoons with contrabassoon, 2 horns, harp, celeste, timpani, “She undressed herself and went into the bath. bass drum, cymbal, triangle, tam-tam, xylophone, The pagodas and pagodines began to sing and jeu de timbres, first and second violins, violas, play on instruments. Some had oboes made of cellos and basses walnut shells and others had violas made of almond shells—for they had to have instruments Duration: Sixteen minutes that were of their own small proportions.”

Maurice Ravel was not much taller than a child. In the Mother Goose story, Laideronnette was a He never married and was childless, but he loved princess who had been cursed with ugliness by children, their toys, playing games with them, and a witch. While hiding in a far-off castle, she falls telling them stories. One of his little friends, Mimi in love with a green serpent who used to be a Godebski, remembered Ravel’s visits: handsome prince. Of course the spell is broken, and they live happily ever after. In one of their I would settle down on his lap, and tirelessly adventures, the couple comes to the land of living he would begin, ‘Once upon a time . . .’ It was pagodas. Ravel’s use of only the black keys of the ‘Beauty and the Beast’ and ‘The Ugly Empress of piano (a pentatonic scale) is what gives this piece the Pagodas’ and, above all, the adventures of a its Oriental flavor. little mouse he invented for me. I laughed a great deal at this last story; then I felt remorseful, as I In Ravel’s telling of Beauty and the Beast, the had to admit it was very sad. clarinet takes on the role of Beauty while the Contrabassoon is the Beast. As they fall in love, Mimi had a brother Jean. To entice the two to their melodies entwine, and as the Beast is practice their piano, Ravel wrote a series of piano transformed, his melody gets played by a solo violin. duets for them. He based them on some fairy tales from the “Tales of Mother Goose.” Several years In the ballet, The Fairy Garden tells of Prince later, the theater manager Jacques Rouché asked Charming awakening Sleeping Beauty with a kiss Ravel to rewrite those piano pieces for orchestra while all of the characters gather around. The music and to recast them into a ballet. Ravel composed begins peacefully but grows to provide the perfect a new prelude, added another scene, and provided storybook ending. musical transitions between the various stories. Nowadays orchestras typically perform just the ©2019 John P. Varineau individual movements without those transitions. There are five short musical stories.

San Antonio Symphony XXIX SCHEHERAZADE November 8 & 9, 2019

BÉLA BARTÓK Bartók wrote his Third Piano Concerto as a (Born on March 25, 1881 Sânnicolau Mare, birthday surprise for his wife, the concert pianist Romania; Died on September 26, 1945 in Ditta Pásztory. He hoped that she would be able New York, New York) to perform it after his death and earn some much- needed money. He was able to complete his work Piano Concerto No. 3 on the Concerto except for orchestrating the last seventeen measures. The Viola Concerto did not Premiered: February 8, 1946 in fare as well. At his death, there were only sketches Philadelphia, Pennsylvania which Bartók’s student, Tibor Serly, wove together to compose a posthumous work. The quartet Orchestration: Solo piano with 2 flutes and piccolo, never materialized. 2 oboes and English horn, 2 clarinets and bass clarinet, 2 bassoons and contrabassoon, 4 horns, The first movement of Bartók’s Piano Concerto 2 trumpets, 3 trombones, tuba, timpani, snare No. 3 begins with a pastoral, nostalgic quality. It also drum, bass drum, cymbals, triangle, tam-tam, exhibits the Hungarian folk music characteristics xylophone, first and second violins, violas, cellos that Bartók spent so much of his life studying. The and basses second movement, marked Andante religioso, is pure magic. Along with the hymn-like piano theme, Duration: 24 minutes there is a “night music” section where Bartók writes the songs of birds he heard—including the Baltimore Béla Bartók was safe in America after fleeing the oriole—while resting and recuperating in North horrors of World War II Europe, but he was not Carolina. The third movement is a spirited rondo. a happy or well man. He was poor, desperately Like his Concerto for Orchestra, this movement homesick and—although he didn’t know it yet— lets everybody―soloist, orchestra, and composer― dying from a form of leukemia. He didn’t compose display their virtuosity. any new music during the first two years of his exile in the United States. One bright spot during his © 2019 John P. Varineau American sojourn was that he was able to carry on his life-long passion: the study of folk music. As a NICHOLAI RIMSKY-KORSAKOV visiting assistant at Harvard, he researched some (Born on March 18, 1844 in Tikhvin, Russia; 2600 as-yet-unclassified recordings of Yugoslav Died on June 21, 1908 in Lyubensk, Russia) Folk music. All the while, Bartok yearned to get back to his beloved Hungary. When the United Scheherazade, Op. 35 States joined the war, even communication with his country was cut off. By the war’s end he was too Premiered: October 28, 1888 in Saint sick to travel. His one wish: “But I would like to go Petersburg, Russia Home — forever.” Orchestration: 2 flutes and a piccolo, 2 oboes with In 1943, two Hungarian compatriots, Joseph Szigeti English horn, 2 clarinets, 2 bassoons, 4 horns, and Fritz Reiner, approached Serge Koussevitsky, 2 trumpets, 3 trombones, tuba, harp, timpani, snare the conductor of the Boston Symphony, and asked drum, bass drum, crash cymbals and suspended him to commission a work from Bartok. Even cymbal, triangle, tam-tam, tambourine, first and though Koussevitsky wasn’t particularly fond of second violins, violas, cellos and basses Bartok’s music, he agreed, and personally delivered the first check to Bartok. The resulting piece was his Duration: 42 minutes Concerto for Orchestra. The great violinist Yehudi Menuhin met with Bartók in that same year and Nikolai Rimsky-Korsakov was the most successful asked him to write a violin sonata. Bartók delivered of a group of Russian nationalist composers known it the next year. He had three other projects: A viola as the The Five or The Mighty Handful. Rimsky- concerto for Walter Primrose, a string quartet (to be Korsakov and the others—Mily Balakirev, Alexander his seventh) and a new piano concerto. Borodin, César Cui, and Modest Mussorgsky—

XXX San Antonio Symphony SCHEHERAZADE November 8 & 9, 2019 were all mostly self-taught and, in many respects, curiosity, the Sultan put off his wife’s execution amateur composers. As a group, they were from day to day, and at last gave up entirely his dedicated to developing a distinctly Russian style bloody plan. Many marvels were told Schahriar of music based upon Russian folk music. Of the by the Sultana Scheherazade. For her stories, the five, only Nicholai Rimsky-Korsakov achieved official Sultana borrowed from the poets their verses, recognition by getting a teaching position at the from folk songs the words; and she strung St. Petersburg Conservatory. He was an excellent together tales and adventures. teacher, but woefully under-prepared for the job. In his autobiography, he explains how he barely kept Rimsky-Korsakov had in view “an orchestral suite in one step ahead of his students: four movements, closely knit by the community of its themes and motives, yet representing, as it were, Had I ever studied at all, had I possessed a a kaleidoscope of fairytale images and designs of fraction more of knowledge than I actually did, it Oriental character.” He had originally intended to would have been obvious to me that I could not label the four movements “Prelude, Ballade, Adagio, and should not accept the proffered appointment and Finale.” However, he eventually published the . . . I was a dilettante and knew nothing. . . . piece with the following movement headings: “The I had to pretend that I knew everything and Sea and Sinbad’s Ship,” “The Story of the Prince that I understood all the problems of all the Kalandar,” “The Young Prince and the Young pupils. I had to resort to general remarks. I was Princess,” and “Festival at Baghdad—The Sea—The aided in this by the fact that at first none of my Ship Goes to Pieces Against a Rock Surmounted pupils could imagine that I knew nothing; and by a Bronze Warrior.” “All that I wished,” he writes by the time they had learned enough to begin to in his autobiography, “was that the listener should see through me, I had learned something myself! carry away the impression that it is beyond doubt an Eastern narrative of numerous and variegated As a teacher, Rimsky-Korsakov influenced two legendary wonders.” generations of Russian composers, including Stravinsky and Prokofieff. Rimsky-Korsakov was careful to point out that the themes that you will hear throughout the four Scheherazade, Rimsky-Korsakov’s most famous movements don’t always relate to the same subject: work, involves fantastic tales of exotic characters “In vain do people seek in my suite leading motives and places. Stories from The Arabian Nights are the linked always and unvaryingly with the same poetic basis for the music. Rimsky-Korsakov included the ideas and conceptions. . . . Appearing as they do following synopsis in the original score: each time under different moods, the selfsame motives and themes correspond each time to The Sultan Schahriar, persuaded of the falseness different images, actions and pictures.” There is and the faithlessness of women, has sworn to one major exception to this: All of the violin solos put to death each one of his wives after the first represent Scheherazade telling her wondrous tales night. But the Sultana Scheherazade saved her to the stern Sultan. life by interesting him in tales which she told him during one thousand and one nights. Pricked by ©2019 John P. Varineau

San Antonio Symphony XXXI GUEST ARTISTS

Kensho Watanabe, Zoltán Fejérvári, conductor piano

Kensho Watanabe has served Zoltán Fejérvári has emerged as Assistant Conductor of The as one of the most intriguing Philadelphia Orchestra since pianists among the newest the 2016-17 season and generation of Hungarian was the inaugural conducting musicians. Winner of the fellow of the Curtis Institute 2017 Concours Musical of Music from 2013 to 2015, International de Montréal under the mentorship of Yannick Nézet-Séguin. and recipient of the prestigious Borletti-Buitoni In April 2017, he came to worldwide attention by Trust Fellowship in 2016, Fejérvári has given stepping in last minute for an indisposed Nézet- recitals at the most renowned venues in Europe and Séguin to make his critically acclaimed subscription the Americas. He has performed as a soloist with debut with the Philadelphia Orchestra and pianist Hungary’s top orchestras, and has collaborated with Daniil Trifonov. many of the world’s leading conductors. Fejérvári’s solo recording debut, Janáček, released in January ​ Equally at home in both symphonic and operatic 2019, earned rave reviews as “the most sensitive repertoire, Mr. Watanabe has led numerous operas and deeply probative recording” of that composer’s with the Curtis Opera Theatre, most recently work (Gramophone). Puccini’s La Rondine in 2017 and La Bohème in 2015. Additionally he served as assistant conductor Continuing to perform chamber music, recital, to Mr. Nézet-Séguin on a new production of Strauss’s and orchestral repertoire spanning five centuries, Elektra at Montreal Opera. Fejérvári begins the 2019-2020 season at the Santa Fe Chamber Music Festival, and makes Symphonic highlights include conducting the his Washington Performing Arts recital debut in Philadelphia Orchestra with the violinist, Hilary November. Additional recital debuts include the Hahn, plus re-engagements with the Orchestre La Jolla Music Society; Howland Chamber Music Métropolitain, the San Diego Symphony, and the Circle in Beacon, NY; Frederic Chopin Society of Alabama Symphony Orchestra. Minnesota; Sanford-Hill Piano Series at Western Washington University; and the Norfolk & Norwich An accomplished violinist, Mr. Watanabe received Music Society in the U.K. his Master of Music degree from the Yale School of Music and served as a substitute violinist in Orchestral collaborations include San Antonio The Philadelphia Orchestra from 2012 to 2016. and Winnipeg Symphony Orchestras, Czech Cognizant of the importance of the training and Philharmonic, Concerto Budapest Orchestra with development of young musicians, he has served András Keller, and Hungarian Symphony Orchestra on the staff of the Greenwood Music Camp since Miskolc with Mátyás Antal. As a chamber musician, 2007, currently serving as the Orchestra conductor. Fejérvári performs with the Elias Quartet presented by the Liverpool Philharmonic Orchestra, and with Mr. Watanabe is a graduate of the Curtis Institute violinist Diana Tishchenko at the Easter Festival in of Music, where he studied with distinguished Aix-en-Provence. conducting pedagogue Otto-Werner Mueller. Additionally he holds a Bachelor of Science degree from Yale College, where he studied molecular, cellular, and developmental biology.

XXXII San Antonio Symphony San Antonio Symphony XXXIII SAN ANTONIO SYMPHONY PRESENTS MOZART REQUIEM

November 22 & 23, 2019 | 8:00 PM HEB Performance Hall The Tobin Center for the Performing Arts

David Danzmayr, conductor Eric Gratz, violin Ellie Dehn, soprano Meg Bragle, mezzo-soprano Miles Mykkanen, tenor Alexander Dobson, baritone San Antonio Symphony Mastersingers John Silantien, director

BARBER Adagio for Strings

WEILL Concerto for Violin and Wind Instruments, Op. 12 Andante con moto Notturno – Cadenza – Serenata Allegro molto un poco agitato

INTERMISSION

MOZART Requiem, K. 626 Introitus – Requiem Kyrie Sequenz Offertorium Sanctus Benedictus Agnus Dei Communio

XXXIV San Antonio Symphony MOZART REQUIEM November 22 & 23, 2019

SAMUEL BARBER A friendship developed, and eventually Toscanini (Born on March 9, 1910 in West Chester, informed Barber that he would like to perform one Pennsylvania; Died on January 23, 1981 in New of his works. It took Barber three years to write York, New York) something that he felt Toscanini would accept. It was his First Essay for Orchestra. Along with that Adagio for Strings work, he sent an arrangement for a five-part string orchestra of something he had written in 1936, the Premiered: November 5, 1938 in New York City, slow movement from his String Quartet in B minor. New York Toscanini sent them both back without comment. Barber was too nervous to approach Toscanini for a Orchestration: string orchestra composed of first verdict, so he sent Menotti by himself. He explained and second violins, violas, cellos and basses that Barber couldn’t come because he was not feeling very well. “I don’t believe that,” remarked Duration: Eight minutes Toscanini. “He’s mad at me. Tell him not to be mad. I’m not going to play one of his pieces. I’m going to Barber’s Adagio for Strings is a serious piece of play them both.” music that is firmly embedded in the consciousness of nearly every American. Those who are old The reviews of the November 5, 1938, broadcast enough will remember that it was broadcast when were great, but there were some sour grapes as John F. Kennedy died. It is often featured at funerals well. Why would the great Toscanini choose the of famous persons, including those of President music of Barber and not some other more ‘avant- Franklin Roosevelt and Albert Einstein. It’s been garde’ composer? In a letter to the New York Times, used in television commercials and in the movies Ashley Pettis wrote: Elephant Man and El Norte. Perhaps the most famous example is its use as background music Mr. Barber’s was authentic, dull, ‘serious’ music for the 1986 Academy Award-winning film Platoon. —utterly anachronistic as the utterance of a When Americans need to express their grief, they young man of 28, A.D. 1938!. . . [composers] turn to the Adagio for Strings. realize only too well that they have small chance of performance by the greatest musical Barber’s Adagio might not have this popularity organizations and conductors . . . unless they without the efforts of one of the great conductors write music for people who listen with ears of of the twentieth century, Arturo Toscanini. This the nineteenth and early twentieth centuries at tempestuous conductor was famous for his fiery the latest. . . . interpretations of Beethoven and Wagner and Verdi. In the late 1930s and 1940s, Americans Aaron Copland had a different verdict. “It’s really eagerly awaited his live national radio broadcasts well felt, it’s believable you see, it’s not phoney.” The on NBC. Samuel Barber met Toscanini almost by composer William Schumann gives a wonderfully chance while he was a student in Italy. Barber and concise listening guide: “It’s so precise emotionally. his friend Gian Carlo Menotti went to the island of It begins, it reaches its climax, it makes its point, San Giovanni to visit Mrs. Toscanini. She was not and it goes away.” available, but Arturo himself received them and proceeded to entertain them for the entire day. ©2019 John P. Varineau

San Antonio Symphony XXXV MOZART REQUIEM November 22 & 23, 2019

KURT WEILL in the Dark (1941), One Touch of Venus (1943), (Born on March 2, 1900 in Dessau, Germany; Street Scene—which won the first Tony Award for Died on April 3, 1950 in New York City, New York) “Best Original Score”—(1947), Love Life (1948), Concerto for Violin and and Lost in the Stars (1949). Wind Orchestra, Op. 24 Weill wrote his Concerto for Violin and Wind Orchestra while he was still studying with Busoni. He described it to his publisher as a work “inspired Premiered: June 11, 1925 in Paris, France by the idea—one never carried out before— of juxtaposing a single violin with a chorus of Orchestration: solo violin accompanied by 2 flutes winds." But during the first rehearsals Weill wrote with piccolo, 1 oboe, 2 clarinets, 2 bassoons, despondingly to his future wife, Lotte Lenya: 2 horns, 1 trumpet, timpani, snare drum, bass drum, triangle, cymbals, xylophone and For the time being it still sounds horrible, and double basses I’m afraid that tomorrow it will also leave much to be desired. [The conductor] is actually quite Duration: 33 minutes incompetent. He can neither conduct nor rehearse; it’s awful. People laugh and play Most Americans are probably familiar with the wrong notes all the time . . . It will be unanimously music of Kurt Weill through just one song—made rejected. One has to have already digested a famous in two renditions by Louis Armstrong and portion of Schoenberg with all good will before Bobby Darin: Mack the Knife from The Three- one can understand this music. . . . Now I’m going Penny Opera. It was part of Weill’s transition from to rehearse with the xylophone player, and it’s a a composer of serious concert music to one of the sure thing that he’ll wreck the second movement. shining lights of American Broadway musicals. In spite of it all, the premiere went well, and Kurt was the son of a Jewish cantor. Showing early the piece received favorable reviews. A later signs of musical talents, he started taking lessons performance in Germany garnered less favorable from a local conductor when he 15. He then moved press. The New York Times claimed the Weill “had to Berlin to study with Engelbert Humperdinck annoyed a lot of people with his violin concerto,” (the German opera composer, not the British and Aaron Copland wrote, “The less said about this crooner). He then joined the composition class of very dull work, the better.” On the other hand, the Feruccio Busoni. great German philosopher and musician Theodore Adorno wrote Weill’s early works include several string quartets, a cello sonata, a symphony, and a symphonic tone In this piece, the lines of Weill’s development poem. But it was his stage works, especially those intersect; the Busoni-esque lucidity is still there, in collaboration with Bertold Brecht like The Three- playfully avoiding both dense polyphony and Penny Opera, and The Rise and Fall of the City of indeed the melodic plasticity which Weill was Mahagonny, that established Weill as a leading later to round out so strikingly. There is a strong composer in Germany. However, the rise of Nazism trace of Stravinsky to be found in the classical, prevented theaters from producing works by Jews masterly clarity of the sound and in much of such as Weill. He eventually fled to the United the wind writing. . . . most remarkable of all is States in 1935 and became a naturalized American a Mahlerian quality, at once garishly expressive citizen. Here he collaborated with a host of leading and painfully laughing . . . . [the] piece stands writers to produce a number of Broadway and isolated and alien: that is, in the right place. Off-Broadway hits: Knickerbocker Holiday—which included the hit “September Song”—(1938), Lady ©2019 John P. Varineau

XXXVI San Antonio Symphony MOZART REQUIEM November 22 & 23, 2019

WOLFGANG AMADEUS MOZART medically prescribed bleedings, Mozart became (Born on January 27, 1756, in Salzburg, Austria; obsessed with the piece, referring to it as his Died on December 5, 1971 in Vienna, Austria) “swan song.” He was certain he was writing it for his Requiem, K. 626 own funeral: I cannot remove from my mind the image of Premiered: December 10, 1791 (probably the stranger. I see him continually. He begs me, incomplete) in Vienna, Austria; January 2, 1793 exhorts me, and then commands me to work. I (possibly complete) in Vienna, Austria continue, because composition fatigues me less than rest. Moreover, I have nothing more to fear. Orchestration: soprano, alto, tenor, and bass I know the hour is striking. I am at the point of soloists with a mixed chorus and 2 basset horns, death. I have finished before I could enjoy my 2 bassoons, 2 trumpets, 3 trombones, timpani, talent. . . . I must, therefore, finish my funeral organ, first and second violins, violas, cellos song, which I must not leave incomplete.” and basses Mozart lived long enough to complete only the Duration: 55 minutes first two sections of the work. He also wrote the remaining voice parts and the bass line—with The way in which Mozart’s Requiem came to be indications for the orchestration—up through the is truly one of the most intriguing stories in music “Hostias.” His wife Constanze, burdened with history. In July 1791, just five months before debt and worried she would lose the commission, his death, Mozart received a mysterious letter. enlisted the help of Joseph Eybler to complete the It complimented him lavishly for his skill as a score. Eybler did what he could, but got stuck after composer and informed him he would receive a the “Hostias.” Eventually, Mozart’s student Franz visitor with a proposal on the following day. Mozart Xavier Süssmayr completed the piece following the described the visitor as “an unknown, grey stranger.” composer’s instructions (and including some of his The proposal he brought was for the commission of own music) and recopied it in his own hand. a Requiem Mass, for which the composer would be handsomely paid. The only additional stipulation The stranger was Count Franz von Walsegg, whose was that Mozart was not to attempt to discover the wife had just died. He had some musical talent, identity of the patron or for whom the Requiem was but also had a reputation for commissioning works intended. Though the visit disturbed Mozart, he and then passing them off as his own. He tried the needed the money, so he consented and promised same with Mozart’s Requiem and premiered it in to set to work immediately. However, at this time 1793. Years later, Constanze persuaded the Count he was a little busy writing opera. He was finishing to disclose its true author. However, questions The Magic Flute, and had just received a commission remain. How much did Mozart really write? What is to compose La Clemenza di Tito for the coronation Mozart’s music and what is Eybler’s or Süssmayr’s? of Emperor Leopold, King of Bohemia. The Requiem As a result, there are several different scholarly had to wait. versions of Mozart’s Requiem. Regardless of the edition, the Requiem is the crowning conclusion After the premieres of the operas, Mozart took and tribute to Mozart’s life and art. It continues to up the Requiem in earnest, but his health was move and astound us with its sublime beauty. seriously deteriorating. By November 1791, confined to his bed and subjected to unrelenting © 2019 John Varineau

San Antonio Symphony XXXVII GUEST ARTISTS

David Danzmayr, Eric Gratz, conductor violin

Described by ‘The Herald’ Known for his charismatic as “extremely good, stage presence, intelligent concise, clear, incisive and musicianship and effortless expressive” David Danzmayr technique, 28-year-old is widely regarded as one violinist Eric Gratz is a breath of the most talented and of fresh air in the classical exciting European conductors music world. Described as of his generation. “eloquent” Dallas Morning News and “spellbinding . . . a disciplined musician beyond his years” San Danzmayr is Chief Conductor of the Zagreb Antonio Express News, he enjoys a varied career Philharmonic Orchestra, the first to hold this title as concertmaster, chamber musician, soloist, in seven years. As leader of this orchestra he is and teacher. following in the footsteps of famous conductors like Lovro von Matacic, Kazushi Ono and Dmitri Currently in his 7th season as concertmaster of Kitajenko. Performing regularly to sold out the San Antonio Symphony, Gratz has enjoyed audiences in Zagreb’s Lisinski Hall and having been numerous solo collaborations with the ensemble, awarded the Zagreb City Award, Danzmayr and his performing repertoire of Bach, Vivaldi, Massenet, orchestra also already toured to the Salzburger Saint-Saëns, Tchaikovsky, John Williams, Barber, Festspielhaus, where they received standing Bartok, Bernstein, and will present Kurt Weill’s ovations performing the prestigious New Year’s Concerto for Violin and Wind Orchestra this season concert and to the Wiener Musikverein. under the baton of David Danzmayr. He also makes his solo debut with the Mid-Texas Symphony In addition David is Music Director of the ProMusica performing Sarasate’s Zigeunerweisen under the Chamber Orchestra, an orchestra comprised of baton of Akiko Fujimoto. He has appeared as soloist musicians from all over the USA. His contract has with the Cleveland Orchestra, National Repertory recently been extended. David Danzmayr received Orchestra, and the Lexington Bach Festival his musical training at the University Mozarteum Orchestra, among others. Gratz has appeared as in Salzburg where, after initially studying piano, he guest concertmaster of a number of orchestras went on to study conducting in the class of Dennis over the past decade, most recently serving as Russell Davies. He finished his studies with the guest concertmaster of the Santa Fe Opera for the highest honours. 2018 season.

Propelled by these early successes into a far In demand as a chamber musician, Gratz has been reaching international career, Danzmayr has invited to appear at leading festivals in the United quickly become a sought after guest conductor for States, Europe, and South America, including orchestras around the globe, having worked with Mainly Mozart, Cactus Pear, Austin Chamber the Symphonies of Oregon, Indianapolis, Detroit, Music, Incontri Musicali, Musical Bridges Around North Carolina, San Diego, Colorado, Milwaukee the World, and Musíca Ocupa. Recent/upcoming and New Jersey, the Pacific Symphony, Chicago chamber collaborators include Vadim Gluzman, Civic Orchestra, and in Europe the Deutsche Karim Wasfi (the Baghdad cellist), Jon Kimura Kammerphilharmonie Bremen, City of Birmingham Parker, and principal players from the orchestras Symphony Orchestra, Bamberg Symphony, of Cleveland, Los Angeles, Toronto, Utah, and Fort Sinfonieorchester Basel, Mozarteum Orchester, Worth. Since his Kennedy Center recital debut at Essener Philharmoniker, Hamburger Symphoniker, the age of 17, he has maintained regular recital Iceland Symphony Orchestra, Odense Symphony activities around the U.S., and looks forward to his Orchestra, Salzburg Chamber Philharmonic, Patagonia, AZ recital debut in January 2020 with Bruckner Orchester Linz, and the Radio Symphony pianist Evan Kory. Orchestras of Vienna and Stuttgart to name a few.

XXXVIII San Antonio Symphony GUEST ARTISTS

As a recording artist, Gratz released his eponymous by Ivor Bolton; made her Metropolitan Opera debut debut album of virtuoso works in 2015, with long- in Philip Glass’ Satyagraha, followed by returns time collaborator Euntaek Kim on piano. The album as Musetta in La bohéme and Donna Elvira in was a success, landing at #11 on the Billboard Don Giovanni; her Teatro alla Scala debut as Classical Chart for its first week. The following year, Antonia in Les Contes d’Hoffmann and return as he co-produced Olmos Ensemble's debut album Musetta; and her debut at Rome’s Teatro dell’Opera release, Olmos Live, performing Harbison’s Twilight as Helena in Britten’s A Midsummer Night’s Dream Music. The group’s second album, Made In France, and return as Musetta. was released summer of 2019, with Gratz again co-producing and performing Prokofiev’s 5 Melodies Highlights of orchestral engagements include and Ravel’s Sonate Posthume with Euntaek Kim. performances at Carnegie Hall in Mozart’s Mass Olmos continues to be a strong presence in the in C minor, Bach’s Magnificat, Vivaldi’s Gloria, American chamber music scene, appearing on and Haydn’s Harmoniemesse. She has performed American Public Media's Performance Today as with the Cleveland Orchestra, most notably as well as countless Texas Public Radio broadcasts. the soprano soloist in Handel’s Messiah and Nielsen’s Symphony No. 3. She debuted with A former student of Cho-Liang Lin, William Preucil, Dallas Symphony Orchestra in Beethoven’s Linda Cerone, Claudia Shiuh, and Cynthia Stuart, Symphony No. 9, joined the Cincinnati May Festival Gratz believes it is of the utmost importance to for Beethoven 9, Haydn’s The Seasons, Gluck’s inspire the next generation of musicians, and Orfeo ed Euridice, and Mahler’s Symphony No. 8. maintains a small private studio of advanced She has performed Mahler’s Symphony No. 8 with students. He has served on competition juries the Orquesta Sinfónica Nacional of Mexico and from the local to national level, and is regularly the Milwaukee Symphony. Ms. Dehn sang the New invited to teach throughout the Texas university York premiere of Messiaen’s Chants de terre et de system. A prizewinner of national and international ciel at Lincoln Center’s Mostly Mozart Festival, and competitions, he holds a Young Artist Diploma and performed Hadyn’s Creation with the Orchetra of BM from the Cleveland Institute of Music, as well St. Luke’s at St. Thomas Church in New York. as a MM at Rice University’s Shepherd School of Music, where he served as a graduate teaching Her discography includes Ravel: Intimate assistant and was a recipient of the Anne and Masterpieces, released on the Oberlin Music label Charles Duncan Concertmaster Chair award. For and distributed by Naxos America, live recordings more information, please visit ericgratz.net. of Saint-Saëns’ Henry VIII and Weber’s Euryanthe.

Ellie Dehn, Meg Bragle, soprano mezzo-soprano

American soprano Ellie Dehn Widely praised for her has been praised by critics musical intelligence and as “a revelation” Chicago “expressive virtuosity” Sun-Times, acclaimed for San Francisco Chronicle, her “great stage presence Meg Bragle has earned an and a voice combining clarity international reputation as and sensual richness” Wall one of today’s most gifted Street Journal. mezzo-sopranos, particularly in the field of early music. Ms. Bragle has sung in North America Career highlights include appearances with San and Europe with the Philharmonia Baroque Francisco Opera in the title roles of Strauss’ Orchestra, Netherlands Bach Society, Tafelmusik Arabella and Massenet’s Manon, Countess in Baroque Orchestra, Orchestra of the Age of Le Nozze di Figaro, Donna Anna in Don Giovanni, Enlightenment, St. Paul Chamber Orchestra, Les and Fiordiligi in Cosi fan tutte, Musetta in Violons du Roy, Orpheus Chamber Orchestra, La bohème and Micaëla in Carmen. She debuted Orchestra of St. Luke’s, Orchestre Révolutionnaire at Royal Opera House Covent Garden as the et Romantique, American Bach Soloists, Apollo’s Countess in Mozart’s Le nozze di Figaro, conducted Fire, Arion Baroque and the Dunedin Consort and

San Antonio Symphony XXXIX GUEST ARTISTS has performed with many symphony orchestras Recently graduated from The Juilliard School with in the U.S. and Canada including the Houston an Artist Diploma in Opera Studies, Miles Mykkanen (Beethoven’s Mass in C Minor), National (Messiah), earned his Bachelor’s and Master’s degree from Indianapolis (Mozart’s Requiem), Milwaukee the school under the tutelage of Cynthia Hoffmann. (Mozart’s Requiem), Cincinnati (Bach’s Mass in B Minor), Pacific (Handel’s Judas Maccabeus), and Alexander Dobson, Colorado (Mendelssohn’s Elijah) Symphonies; the baritone National Arts Center Orchestra (Messiah) and a series of concerts with the Calgary Philharmonic British-Canadian baritone including Handel’s Messiah and Beethoven’s Alexander Dobson has been Symphony No. 9. praised for his musical and dramatic artistry on both Her opera roles include Idamante in Idomeneo, opera and concert stages. He Dorabella in Così fan tutte, Dido and the Sorceress was lauded for his “gripping in Purcell’s Dido and Aeneas, Dardano in Handel’s embodiment of Wozzeck” Amadigi, Amastre in Handel’s Serse, Speranza in Journal Voir in a production of the Berg opera Monteverdi’s L’Orfeo, Ippolita in Cavalli’s Elena, and with Théâtre du Nouveau Monde and Orchestre Elpina in Vivaldi’s La Fida Ninfa. Métropolitain, conducted by Yannick Nézet-Séguin.

Highlights of her 2019/20 season include This season Dobson makes his fourth appearance returns to Seattle Symphony (Messiah), Colorado in four seasons with Florentine Opera, performing Symphony, Winter Park Bach Festival, Carmel the role of “The Count” in Mozart’s Le Nozze di Bach Festival, Tempesta di Mare, and the Dunedin Figaro. Concert highlights in the United States Consort. She makes her debut with the San Antonio include Mozart’s Requiem with San Antonio Symphony this fall performing Mozart’s Requiem. Symphony, Messiah with Kansas City Symphony, Other performances include those with Voices of and Bach’s St. John Passion with Bach Society Music, Washington Bach Consort, and a recital of St. Louis. Among his many Canadian of early George Crumb Songs at the University of appearances this season, Dobson will perform Pennsylvania, where she is Artist in Residence. Bruckner’s Te Deum and Beethoven’s Symphony No. 9 with the Hamilton Philharmonic. Abroad, Miles Mykkanen, he performs in Stravinsky’s Pulcinella with the tenor Warsaw Philharmonic.

Miles Mykkanen garners Dobson’s operatic roles include the title role in recognition on the world's Don Giovanni with Florentine Opera, “Maximilian” in concert and operatic stages Bernstein’s Candide with Calgary Opera, and “The for his "focused, full-voiced Count” in The Marriage of Figaro with Against the tenor" The New York Times. Grain. Concert highlights include Mahler’s Songs of The 2019-20 season sees a Wayfayer with Orchestre Métropolitain, Walton’s Miles Mykkanen making Belshazzar’s Feast with Toronto Symphony, and debuts at the Metropolitan Opera in Wozzeck led Mahler’s Symphony No. 8 with Yannick Nézet- by Yannick Nézet-Séguin and at the Festival d’Aix- Séguin conducting the combined National Arts en-Provence in L’incoronazione di Poppea under Centre Orchestra and Orchestre Métropolitain. the baton of Leonardo García Alarcón. Other highlights include the title role of Candide at the Visit Alexander on the web at schwalbeandpartners.com/ Opéra de Lausanne and Der fliegende Holländer alexander-dobson-baritone at the Canadian Opera Company. The tenor’s vibrant concert schedule includes performances of Bruckner’s Te Deum with the Pittsburgh Symphony, a world premiere of Mohammed Fairouz’ Another Time with the Detroit Symphony Orchestra, and the Mozart Requiem with the San Antonio Symphonydia.

XL San Antonio Symphony San Antonio Symphony XLI SYMPHONY SUPPORTERS

Thank you to our community of Symphony Supporters!

The San Antonio Symphony expresses its appreciation to all of those who contribute in support of our work to delight, engage, and inspire the entire community through excellent performance, education, and outreach.

Together our donors provide the necessary community leadership and financial resources to ensure and enhance the presence of our world-class orchestra. To learn about how you can support the Symphony, we invite you to visit our website at www.sasymphony.org or contact the Symphony Development Department at 210.554.1054.

Donor listing includes gifts and pledges made between September 1, 2018 and August 31, 2019*

GOVERNMENT GRANTS

Center City Development and Operations Department

FOUNDATIONS & ORGANIZATIONS Symphony Society of San Vanguard Charitable Antonio Board of Directors Endowment Program San Antonio Brown Foundation, Inc. Symphony League Elizabeth Huth Coates Charitable Russell Hill Rogers Fund Foundation of 1992 for the Arts Ewing Halsell Endowment Fund Albert & Bessie of the SAAF Mae Kronkosky Give Gab Charitable Foundation Martha-Ellen Tye Foundation Rohe Charitable Lead Trusts American Endowment San Antonio Symphony Foundation Permanent Endowment Fund Fidelity Charitable Gift Fund of the SAAF The Greehey Family Schwab Charitable Fund Foundation The Semmes Foundation

XLII San Antonio Symphony Ann Walker Memorial Fund of the Ayco Charitable Foundation San Antonio Area Foundation Daniel J. Sullivan Family Charitable Betty Steiren Kelso Foundation Foundation Bowden Massey Foundation The Benevity Community Impact Fund Carol Lee Jones Education & Louis J. and Millie M. Kocurek Charitable Foundation Cultural Fund of the SAAF Marilyn L. & William G. Moll Charitable Fund Flohr Family Foundation of the SAAF George Weldon Sheffield Fund Minnie Stevens Piper Foundation of the SAAF San Antonio Area Foundation Heart of Texas, San Antonio Symphony The Gorman Family Foundation Endowment Tuesday Musical Club Louis H. and Mary Patricia Stumberg Foundation BYN Mellow Charitable Gift Fund Martha Mares Lebo Children's Muriel F. Siebert Foundation Frilling Piano Studio Education Fund of the SAAF Hot Wells Conservancy McGuire Family Foundation The Nonprofit Council Russell Hill Rogers String Residency Jewish Federation of San Antonio Endowment of the SAAF John E. Dempsey Fund of the SAAF Lifshutz Foundation Saint Susie Charitable Foundation Light One Candle/ Dr. Gregorio M. Canales San Antonio Symphony Fund Memorial Education of the SAAF Lynn and Samuel Stahl Family Philanthropic Fund Lowe Family Foundation of the SAAF The Alfred S. Gage Foundation National Christian Foundation Network for Good The Jesse H. & Susan Oppenheimer Norman Family Foundation Foundation Hall and Pat Hammond Charitable Fund of the The Parker Foundation, Inc. SAAF United Way of San Antonio & San Antonio Symphony Mastersingers The Vaughan Foundation Bexar County University of the Incarnate Word Victor and Peggy Creighton Genevieve and Ward Orsinger Foundation Charitable Trust

San Antonio Symphony XLIII CORPORATE CONDUCTOR’S CIRCLE

PLATINUM - $100,000 AND ABOVE BRONZE - $10,000 - $24,999

GOLD - $50,000 - $99,999 The Nordan Trust

Mission DG

SILVER - $25,000 - $49,999

SYMPHONY BUSINESS PARTNERS

Place Rentals, Inc Fidelity Investments Toubin Insurance Universal Travel Services

Barbuilders LLC Morgan Stanley Smith Barney Jane Lindell Hughes M.D., Ophthalmology & Ophthalmic Surgery Ford, Powell & Carson Architects & Planners Inc. Radiance Homes Law Office of David Butterbaugh, P.C.

XLIV San Antonio Symphony CORPORATE MATCHING GIFT AND EMPLOYEE ENGAGEMENT FUNDS

AmazonSmile Foundation IBM Matching Gift Program ExxonMobil Foundation Shell Oil Company Foundation Fidelity Charitable Gift Fund

Become a Corporate Conductor’s Circle or Business Partner Member! Be recognized as a community business leader and be connected to our Symphony patrons! In addition to recognition in 55 concert programs during the Symphony’s season in the Tobin Center, Business Partners and Conductor’s Circle benefit packages include concert tickets, program ads, promotional signage/displays in Tobin lobby, and invitations to special events with musicians, conductors and guests artists. Business Partners also receive special ticket offers throughout the year to share with employees, clients or customers. For more information contact Development, at 210.554.1054

San Antonio Symphony XLV INDIVIDUAL DONORS

Donor listing includes gifts and pledges made between September 1, 2018 and August 30, 2019.* Carol Lee Klose and ALLEGRO (GOLD) - Carolyn A. Seale $5,000 - $7,499 Robert V. and Andree Knapp Ms. Susan Belken, Belknen Lt. Col. John G. Koudsi Insurance Associates PLATINUM - Frederica and Martin Kushner Steven Alan Bennett and $100,000 AND ABOVE Mr. Louis J. Lamm, Jr. Dr. Elaine Melotti Schmidt Friend of the San Antonio Agnes and Jim Lowe Nancy and Charlie Cheever Symphony Mrs. Carolyn Marshall Doris M. Cobb Bunny and Wilbur Matthews Edward E. Collins III GOLD - $50,000 - $99,999 Taddy McAllister Colonel (Ret) Stephen Fischer George and Maureen Merkle SFH 2016 Giving Fund and Mr. Roy Biles Mrs. Margaret Mireles Drs. Sheila Swartzman and Lt. Col. John Fucik Debbie and John T. Montford Kenneth Bloom Jeffrey L. Glass, MD Nancy R. Otto, MD Friend of the San Antonio Mr. and Mrs. Joseph W. Gorder Mrs. Angela Pfeiffer Symphony Drs. Margo Denke and Mrs. Eleanor Purcell James Griffin SILVER - $25,000 - $49,999 Mr. Kelly M. Ranson Mr. and Mrs. Tom Guggolz Cheré Reneau Dr. and Mrs. George Bannayan Mr. LeRoy R. Hayden, Jr. Dr. C. Wayne and Barbara Shore Mr. and Mrs. John L. Hendry III Jim and Frances Garner C. Ritchie Spence, M.D. Kathleen and Albert Vale Ronald C. Keller George and Polly Spencer Dr. John B. Lenox Mr. and Mrs. Edward E. Mr. Frank W. Stenger-Castro Whitacre, Jr. Mr. Pat Maloney, Jr., Law Offices Mr. and Mrs. Don R. Thomas of Pat Maloney, P.C. BRONZE - $10,000 - $24,999 Didi and Alan Weinblatt Manie and Michael Mann Ms. Penny Wiederhold Colonel Nickey McCasland Kathey and Robert Anderson Jane & Scott Wilkinson Ms. Patricia A. Kalmans and Jane and Wayne Beyer Dr. Michael A. Ozer Virginia and Charles Bowden Elizabeth and Greg Radabaugh Mr. James S. Calvert Gerry L. Saum Mary Anne and Tony Crosby Drs. Harry and Molly Shafer Linda and Edgar Duncan VIVACE (SAPPHIRE) - William and Jo Sherrill Eric and Priscilla Dupre $7,500 - $9,999 Cristina Chial and Bruce Topletz Mr. and Mrs. Jeffery S. Galt Mr. and Mrs. Larry Amos Lucy and Jack Walters Susan Gershenhorn and Dr. and Mrs. Charles H. Du Val James Lazarus Estate of Daryl Engel Drs. Lois Bready and Marlene Merritt Joseph Holahan The Honorable Karen H. Pozza Anne and Bruce Johnson and Dan Pozza Christine and Jonathan Schmidt

XLVI San Antonio Symphony Pagie and Craig Wilson Mrs. Janelle Tye Mrs. Holly K. Denton and Jean Rogers Winchell Mrs. B.J. Vineyard Mr. Jack Swanson Dr. Leopoldo Zorrilla Mr. and Mrs. Gary Walter Jack DeWied and Suzanne West Loretty Shivers ANDANTE (SILVER) - Mr. and Mrs. Graham Weston Mrs. Sharon Dicey $2,500 - $4,999 Mr. and Mrs. Robert E. Woolley Richard and Kim Dietz Mr. George C. Allen and Marjorie and Joseph Dishron Mr. Bryan L. Saldana ADAGIO (BRONZE) - Mr. James A. Doebbler $1,000 - $2,499 Dr. Clifford Alprin and Arlene Dryer Dr. Lindsey Hawkins-Alprin Mr. Thurman J. Adkins Mr. Thomas H. Edson Dr. George Beddingfield Mr. and Mrs. Otis Baskin Mr. Donald G. Elliott Mary Alice Bond Dr. and Mrs. Carlos Bazan III Drs. Linda Ellsworth and Dr. Alfred Bowles Mr. Philip Beauchamp George Mann Aimee and Ernest Bromley Dr. and Mrs. Randall C. Bell Mr. and Mrs. Frank Ely Jennifer and Corey Cowart Mr. Walter R. Bell Sonia an Edward Esparza Mr. and Mrs. Seymour Dreyfus Col and Mrs. Craig R. Bertolett, Dick and Jimmie Ruth Evans Sharon and Bjorn Dybdahl (USAR - Ret.) Mary Rebecca Ferris Ms. Ruth A. Edney Mr. Ray G. Besing Dr. and Mrs. Julio E. Figueroa Ken Fine and Rebecca Canary Mary Alice Bethancourt Kathryn and Michael Fischbach Vade G. Forrester, Jr., in memory Margaret Corning Boldrick Pearl and Israel Fogiel of Scotti Forrester Mr. and Mrs. John C. Brooke Jacque and Jay Forrest Colonel and Mrs. John J. Franco, Jr. Dr. Herbert and Sylvia Brown Mr. and Mrs. Sidney Francis II Paul Giolma, Ph.D. Mr. and Mrs. John Browning Mrs. Ruth Frederick Dr. and Mrs. Randolph D. Mr. E R. Bruno John Frederick and Mimi Yu Glickman Mr. Robert Buchanan, The Mr. Raymond Goldstein and Anthonio K. and Original Mexican Restaurant Ms. Jane T. Welch Richard E. Goldsmith Ms. Marsha Burrows Drs. Laurie and Mr. and Mrs. Richard Green Dr. and Mrs. Richard V. Butler Lewis Greenberg Norman and Antje Klaunig Wade and Lisa Caldwell Peter Guenther and Alfredo La Rosa and Mr. and Mrs. Richard W. Calvert, Barbara Woodriff Catalina Samper F.B. Doane Foundation Margaret Hager Margaret and Jack Maguire Brigadier General (ret.) Dr. George Christopher Hammet Mr. and Mrs. John T. McGuire David M. Cannan Ms. Amy Hardberger Ms. Karen McMillan Mr. and Mrs. Victor Casiano Ms. Anne R. Hardinge James F. Nelson and Ms. Hannah M. Castellaw James and Roxana Hayne Yong Q. Zhang Drew and Elizabeth Cauthorn Drs. Kevin Hall and Mr. and Mrs. Daniel J. O'Connor Mr. Marc Chalaby Josefine Heim-Hall Alexander M. Michael and Paula Chalk Mrs. Kathryn Heizer Papanastassiou, M.D. Dr. and Mrs. William J. Chiego, Jr. William and Barbara Hintze Camilla Parker Mrs. Anne S. Church Chalres and Janet Hooper Dolores Perrine Ms. Janyce Clark Mr. Barry W. Hubbard Mr. and Mrs. Fred N. Pfeiffer Dr. Jacqueline Claunch Mr. and Mrs. Michael Huber Dr. and Mrs. Fernando A. Guerra Rev. and Mrs. Albert B. Clayton John Hudson Judge Bonnie Reed and Dr. Gillian E. Cook Claudia Huntington and Stuart Schlossberg Mrs. Gayle Copeland and Marshall Miller Mrs. Margaret M. Rote Mr. Jim Jacobs Mr. and Mrs. Richard W. Hussey Judith and George Schroeder Laurin and Bill Cothren Mr. Joseph Jarmon Dr. and Mrs. Alberto C. Serrano Bruce and Flo Cotter Mrs. G. Milton Johnson Mr. and Mrs. Robert Shivers Dr. Brenda K. Covey Kay Lorraine Johnson, Dr. Rasa Silenas Friend of the Symphony Creative Glass Design Rebecca and David Simpson Friend of the Symphony Dr. Ajeya and Mrs. Anjali Joshi Barbara K. Stover Mr. and Mrs. Tom Davis

San Antonio Symphony XLVII INDIVIDUAL DONORS

Drs. Uma and B. Kasinath Dr. and Mrs. Richard L. Miller Charles and Nimfa Salge Dr. Peter O'Brien and Mr. Doug Miller Mrs. Carolyn Sanders Ms. Jane M. Key Mr. Barry Mitchell Mr. Cornel Sarosdy Charles and Vickie Kinder Susan Mooberry and Ms. Georgina R. Schwartz Mr. Robert C. and Gregory Patterson Joachim Singelmann Dr. Susan Marenda King Mrs. Sally D. Morehouse Dr. and Mrs. Earl Smith Dr. and Mrs. James W. Mr. and Mrs. Geoff Morgan Peter and Buffy Smolens Kirkpatrick Bob Morrell Bob and Sally Sohn Mr. Isidoro Korngold and Mrs. Lillian P. Morris Morris and Rose Spector Ms. Rosario L. Ochoa Judy Morton Dr. Marga Speicher Ms. Shelley Kozel Mr. and Mrs. Matthew B. Mullin Mr. and Mrs. Charles Staffel Dr. Robert T. Kunau, Jr. Dr. and Mrs. Joseph P. Murgo Carol and Michael Stehling Mr. and Mrs. James C. Kuster Jim Murray and Mr. Gerald B. Stepman Ms. Joanne Kuster Sheila Winget-Murray Dr. and Mrs. Robert Stevens Ms. Barbara C. Kyse Ms. Phyllis T. Nguyen Margaret Leigh Shapleigh and Mr. and Mrs. David Lamers Ms. Wendy Nguyen Donald Strandberg Mr. and Ms. Henry Lang Mr. and Mrs. Art Nicholson Mrs. Ernstine K. Studer Joan and Lynn Lasswell Ms. Jean M. Nystrand Frank and Nancie Sutter, Mr. and Mrs. Robert R. Lende Russell and Martha Oppenheim Universal Travel Services Mr. and Mrs. Joel Lichtenstein Valerie and Victor Ostrower P.H. Swearingen, Jr. Ms. Amy Liebert Harriet and David Pinansky Mr. Charles A. Szabo and Mr. and Mrs. Owen Lockerbie Dr. and Mrs. Ben Plummer Mrs. Luz Moreno Ms. Carolyn Lowery Dr. Barry and Ms. Tina Torres Linda and Larry Lowman Mrs. Nancy Portnoy Mr. Jimmy Toubin Mrs. Sonia Lubetsky Mr. and Mrs. Jon Purdy Mr. and Dr. Dale W. Tremblay Ms. Janet Luther Ms. Janet M. Putz Mr. Arthur Valentine Mr. and Mrs. Charles D. Lutz III Ms. Kathy Rafferty Dr. Karen A. Waldron Alice Lynch Dr. Jose and Peggy Rebolledo Dr. Bruce H. Warren Ms. Jane H. Macon Epitacio R. Resendez V Dr. Mark and Ellen Weinstein Dr. and Mrs. Peter Maddox Ms. Alice Reyes Caroline and Andrew Weir Cindy and Richard Marini Dr. and Mrs. Leonel Reyes, Jr. Sylvia R. Wheeler Janet Massy / Massy Studio LLC Dr. and Mrs. Charles W. Lynne Wilkerson and Ms. Jill L. Mata Robinson, Jr. Basil Scaljon Friend of the Symphony Ms. Sue Rodarte Don and Kathy Wilkinson Dr. Richard McDonnell Gerry Frost & Leonel Rodriguez Ms. Rita Binkley Worthy Ms. Kathleen McGrail Mr. and Mrs. Bealer Rogers Lori and Mark Wright Leila Meacham Friend of the San Antonio Ms. Judy Yaeger Drs. John M. and Symphony Catherine T. Milbourn Deborah and Bill Rush

XLVIII San Antonio Symphony Mrs. Rosario S. Laird $250 - $499 Mr. and Mrs. Philip D. Mr. Harlan Adamcik LeMessurier Mr. C. L. Adamson Mr. James R. Letchworth and Ronald W. Ady $500 - $999 Mr. Kirk Swanson Col. and Mrs. Sigmund John Lewis and Patricia Bridwell Curt and Lorraine Anastasio Alexander Dr. and Mrs. Walt W. Magnus Dr. Nancy Fix Anderson Marian L. Archer Raymond and Jacqueline Dr. Karen Balcom James and Marieta Baer McClellan Benson Family Fund Mr. Scott Baird Mrs. Robert McCormick Mr. and Mrs. Steven A. Blank Mr. and Mrs. E. J. Baker, Jr. Dr. and Mrs. James A. McMullan Ms. Danna A. Brady Mr. and Mrs. Jack Baker Terry McQuain Piano and Violin Studios of Mr. and Mrs. John E. Bakke III Mr. Eric G. McQueen April and Eric Brahinsky Ms. Donna B. Bamberger Dave and Rita McSorley Ms. Olga Brown Dr. Aaron Betts and Ms. Frances V. Metcalf Mr. and Mrs. Terry Burns Mrs. Yazmin Betts Dr. and Mrs. Alexander Miller T.R. and E.C. Burns Mr. and Mrs. John Blattner Mr. and Mrs. Wright Nodine Mr. and Mrs. Chester M. Mr. Wayne Bradford Elvira and Carlos Ortiz Carrauthers Dora A. and Timothy Brown Mrs. Harry J. Parker Henry and Mary Alice Cisneros Mr. and Mrs. Landon Brown Ms. Annette Paulin Mr. and Mrs. Jerome M. Cohen Ms. Patsy Burrow Drs. Robert and Diane Persellin Mr. and Mrs. Garry T. Cole Bettye and Paddy Burwell Ann Pomerantz, The Ann and Mr. Samuel Creswell Mr. Paul B. Carter Melvin Pomerantz Mr. John Debner John P. and Linda Fay Casey Charitable Fund Al and Claire DeLauro Mr. Juan J. Castillo and Drs. Sammie and Ed Raez Ms. Margaret Dennett Mr. Raul Guerra Dr. and Mrs. Arthur Rosenthal Dr. and Mrs. Matthew J. Dolan Demetrius and Agatha Christian Mr. and Mrs. George N. Mr. Michael Duan Mrs. Ann T. Coiner Samaras Thomas and Sharon Dukes Jay and Peggy Collins Mrs. Cessie Sanchez Mr. Joseph W. Eikenberry Anne and Michael Connor Thomas and Cynthia Schluter Dave Fisher Mrs. Flora C. Crichton Linda Nixon Seeligson Mr. and Mrs. Richard Fisher Mr. C. Lee Cusenbary and Mr. and Mrs. Robert L. Senter Paul Fitzpatrick and Teresa Hospers, M.D. Mr. Edward C. Snyder III S. Colette Daubner Mr. and Mrs. Paul Cwiklik Dr. Terresa Stallworth Ms. Freda J. Flax Mr. and Mrs. Walter D. Mrs. Elsie G. Steg Jeannine and Thomas Foster Downing, Jr. Mrs. Victoria Summy and Dr. and Mrs. Antonio Furino V. Grayson Dyer and Dr. Joseph Webb Elaine and Bob Gardner Jacqueline Lee Mok Mr. Kenneth Tannenbaum Mr. Michael E. Greenberg Dr. Franklin Epstein Dr. and Mrs. Kenneth Torrington Mr. and Mrs. Hall S. Hammond Mrs. Jimmie Sue Francis Ms. Katherine A. Totten Mrs. Maria K. Hanau-Schaumburg Mr. Albert Fulton Jim and Beverly Tsakopulos Mr. James A. Harnish Ms. Andrea Garza Stephen Whitworth Frances J. Hearn Barbara and Michael Gentry Dr. and Mrs. James H. Wild Mr. Javier Hernandez Tom and Susan Ginnity Mr. Neil E. Williams Mrs. Maryanne Herzig Mr. Thomas S. Girhard Dr. Janet F. Williams Gretchen Hill and Patrick Ward Dr. Richard Goldman Dr. and Mrs. John A. Williamson Ms. Betty Hurt Ms. Veronica Gonzalez Ms. Fredericka Younger Suzanne J. Kasanoff Larry and Paulette Goodman Drs. Gerardo and Rosa Zavala Diane and Robert Green Ms. Molly K. Zebrowski Mr. Brian Halverson

San Antonio Symphony XLIX INDIVIDUAL DONORS

Joe Harris Mrs. Helen McCrae Mr. and Mrs. Josef E. Seiterle Mrs. Mary A. Hart Mr. and Mrs. Austin Moore Mr. Tom Sharp Mr. and Mrs. Ronald L. Hatfield Mrs. Diana T. Morehouse Bassim and Karen Shebaro Ms. Irene Hays-Pierce Mr. and Mrs. Larry W. Morgan Mr. and Mrs. Donald Simmons Mr. and Mrs. Timothy Jenison Mr. Michael Munson Douglas Smith and Dr. and Mrs. Douglas Jenkins Andrew L. Nordquist Rebecca Gonzalez Vincent R. Johnson and Mr. and Mrs. Leonard O'Donnell Ms. Claudia J. Smith Jill Torbert Dr. Maureen O'Driscoll-Levy Tookie Spoor Ms. Margaret A. Joseph Ms. Catherine W. Owen Mr. and Mrs. Karl J. Springer Friend of the Symphony Dan and Harriet Peavy Ms. Malgorzata Stypko Mr. and Mrs. Richard M. Kardys Mr. and Mrs. William T. Phillips Dr. Dwight Swimley Mr. and Mrs. David J. Kinneberg Ms. Hallie Pinson Mr. and Mrs. Emil G. Swize Mr. and Mrs. Richard M. Ms. Morgan Price Ms. Stacey M. Taliancich Kleberg III Charles and JoAnn Purdy Dr. Carolyn True Mr. and Mrs. Thomas Klein Dr. Robert Ramirez Ms. Lydia Vasquez Mr. Robert M. Kremer Ms. Dorothy Randall Theresa and Lee Washburn Mrs. Helen Kyse Dr. and Mrs. Richard R. Ritter Mr. James Waters Carl and Ann Leafstedt Dr. Ralph J. Riviello Mr. and Mrs. Paul W. Mr. and Mrs. Thomas F. Lee Mr. and Mrs. Robert R. Rothen Westerberg Dr. and Mrs. Charles Lerner Ms. Ethel T. Runion Emilia and William Westney Mr. Jesse Lopez Mr. Cicero A. Rust III Ms. Sandy Whitley Mr. and Mrs. Robert Madison Mo and Brigitte Saidi Jerry and Cynthia Wiens Mr. Joel A. Mayer Mr. Frank L. Seaman Mr. and Mrs. Donald Zapara

*Great care has been taken to ensure the accuracy of this list. Please contact Amelia Reyes in the Symphony’s Development Office at 210.554.1062 or [email protected] if you have any questions or to report an error.

L San Antonio Symphony NAMED MUSICIANS

Donors who annually contribute at the Alessandro Circle level are eligible to be recognized as Named Musician Sponsor of their favorite musicians. To learn more about this program, contact the Symphony Development Office at (210) 554-1054.

CLEO AUFDERHAAR, JEFF GARZA, PRINCIPAL HORN JEAN ROBINSON, FLUTE SECOND VIOLIN Jim and Frances Garner Ms. Carolyn Marshall Eleanor and Linda Purcell MARY ELLEN GOREE, PETER RUBINS, HORN NOAM AVIEL, PRINCIPAL SECOND VIOLIN Dr. C. Wayne and Barbara Shore ASSOCIATE CONDUCTOR Ken Fine and Rebecca Canary ILYA SHTERENBERG, Mrs. Penny Wiederhold BETH JOHNSON, PRINCIPAL CLARINET ERIC GRATZ, CONCERTMASTER SECOND VIOLIN Steven Alan Bennett and Laura and Jack Richmond Dr. John B. Lenox Dr. Elaine Melotti Schmidt JENNIFER BERG, MORGEN JOHNSON, CELLO RENIA SHTERENBERG, OBOE/ENGLISH HORN Ms. Angela Pfeiffer ASSISTANT CONCERTMASTER Bolner's Fiesta Products Inc. STEPHANIE KEY, ASSISTANT Susan Fox-Harris MARISA BUSHMAN, VIOLA PRINCIPAL CLARINET SARAH SILVER, ASSISTANT Flohr Family Foundation Agnes and Jim Lowe CONCERTMASTER JOHN CARROLL, D.M.A., SHARON KUSTER, Mr. Kelly Ranson PRINCIPAL TRUMPET PRINCIPAL BASSOON KAREN STILES, ASSISTANT The Original Mexican Mr. Denny Ware PRINCIPAL SECOND VIOLIN Restaurant & Bar PAUL LUEDERS, OBOE Dr. C. Wayne and Barbara Shore ALLYSON DAWKINS, PRINCIPAL CHAIR DANIEL TAUBENHEIM, PRINCIPAL VIOLA Kathleen and Albert Vale ASSOCIATE PRINCIPAL Drs. Kenneth R. Bloom and JULIE LUKER, PICCOLO TRUMPET Sheila Swartzman AND ASSOCIATE Polly and George Spencer RACHEL FERRIS, PRINCIPAL FLUTE MARK TEPLETSKY, PRINCIPAL HARP Lt. Col. John G. Koudsi PRINCIPAL FLUTE James S. Calvert, in memory of DAVID MOLLENAUER, James Lazarus and Carolyn Rice Calvert, Founding ASSISTANT PRINCIPAL CELLO Susan Gershenhorn Director 1939-1978 Agnes and Jim Lowe BONNIE TERRY, ASSOCIATE PETER FLAMM, BASSAM NASHAWATI, CONCERTMASTER PRINCIPAL TIMPANI FIRST VIOLIN Drs. Kenneth R. Bloom and Wayne and Jane Beyer Ms. Taddy McAllister Sheila Swartzman RIELY FRANCIS, RON NOBLE, BASSOON/ AIMEE TOOMES LOPEZ, PRINCIPAL PERCUSSION CONTRABASSOON SECOND VIOLIN Robert V. and Andree Knapp Cristina Chial and Bruce Topletz George and Maureen Merkle EMILY WATKINS FREUDIGMAN, STEVE PETERSON, STEPHANIE TEPLY WESTNEY, ASSISTANT PRINCIPAL VIOLA PRINCIPAL TROMBONE VIOLIN II Norman and Antje Klaunig Mr. Frank W. Stenger-Castro Bunny and Wilbur Matthews KENNETH FREUDIGMAN, in memory of Dan & Diana STEVE ZESERMAN, BASS PRINCIPAL CELLO Stenger Dupre Ms. Marlene Merritt Didi and Alan Weinblatt

San Antonio Symphony LI SYMPHONY LEAGUE

SAN ANTONIO SYMPHONY LEAGUE

WE CELEBRATE MUSIC WE EDUCATE CHILDREN WE SUPPORT SYMPHONIC MUSIC WE ARE INSTRUMENTS OF CHANGE JOIN US! Last season, Symphony League activities resulted in a donation of $212,000.00 to the San Antonio Symphony. BOARD OF DIRECTORS Vickie Kinder Janette Surrett Freddie E. Cervera III President VP Audience Development VP Fund Development Maureen Hillman Meaghan Williams Gina Padalecki Immediate Past President VP Belle Programs VP Membership Gail Jarratt Joanne Lawton Adrian Martinez Recording Secretary VP Communication VP Service Susanne Marco Joan Whiteley Peggy Cervera VP Administration VP Education VP Social Angela Pfeiffer VP Finance/Treasurer

Interested in joining or for more information... call Gina Padelecki, VP Membership 210-413-8773

LII San Antonio Symphony BELLE CLASS OF 2020

Alexandra Grace Adelman (Ally) Ingrid Varela Mayer Daughter of Mr. and Mrs. David Morris Adelman Daughter of Dr. and Dr. Paul Tillson Mayer

Eleanor Claire Anderson (Ellie) Marguerite Quinn Morgan Daughter of Mr. and Mrs. Phillip Michael Daughter of Mr. and Mrs. Kelton Keith Morgan Anderson Madison Nicole O’Daniel Christian Sloane Basse (Sloane) Daughter of Mr. and Mrs. Charles Patrick Daughter of Mr. and Mrs. Christian Matthews O’Daniel Basse Carla Ravelo-Szarvas Crosby Lee Beckel Daughter of Mr. and Mrs. Harding Conrad Daughter of Mr. and Mrs. Jeffrey Daniel Beckel McEldowney and Mr. David Ravelo

Emma Joyce Bryant Isabella Terrell Rowland (Bella) Daughter of Mr. and Mrs. George Matthew Bryant Daughter of Mrs. Rebecca Martin Rowland and Dr. and Mrs. Richard Spencer Rowland Jennifer Maverick Clements (Jenny) Daughter of Mr. and Mrs. James Maverick Sophie Elizabeth Silva Clements Daughter of Dr. and Mrs. Zeke Silva III

Kendra Elizabeth Frey Sara Ellen Starnes Daughter of Dr. and Mrs. William Christopher Frey Daughter of Mr. and Mrs. William Frederick Starnes, Jr. Sofia Christina Gutierrez Daughter of Mr. and Mrs. Albert Martin Gutierrez Erica Blair Stocker Daughter of Dr. and Dr. Eric Herman Stocker Megan Jean Huff Daughter of Mr. and Mrs. Kip Harsh Gilliland and Sophie Katherine Velez Mr. John Huff Daughter of Dr. and Mrs. Jorge Alberto Velez

Kendall Case Johnson Annie Marie Volpe Daughter of Mr. and Mrs. Mark Musgrave Daughter of Mr. and Mrs. John Carlos Volpe Johnson Jr. Abigail Jewel Wagner Tatum Elizabeth Kiselis Daughter of Mr. and Mrs. Walter Richard Wagner Daughter of Mr. and Mrs. Paul Anthony Golibart and Mr. Timothy Michael Kiselis Katalina Lizette Watson Daughter of Mr. and Mrs. Mark Edmund Watson III Reagan Victoria Laine Daughter of Dr. Gale Gregory Kelsie Elizabeth Westmoreland Daughter of Mr. and Mrs. Stephen Jason Hailey Elizabeth Lynd Westmoreland Daughter of Mrs. Christine Perron Crescenzo and Mr. Michael Joseph Lynd Jr. Corina Michiko Villanueva Zarate Daughter of Dr. and Dr. Rudolfo Pedraza Zarate Jr. Emma Ireland Matthews Daughter of Mr. and Mrs. Graham Walker Matthews

San Antonio Symphony LIII HONOR AND MEMORIAL GIFTS

Our thanks to all those who chose to honor or remember someone special through a gift to the San Antonio Symphony. The following list includes honor/memorial gifts and pledges made between September 1, 2018 and August 30, 2019.* IN HONOR OF

Lynn Arneson Zora Dickson Drs. Sheila Swartzman and Taddy McAllister Kathleen and Albert Vale Kenneth Bloom Drs. Jim and Peggy Sims Noam Aviel's Grandmother Riley Francis, Cheré Reneau Principal Percussion Mrs. Sonny Swimley Bettye and Paddy Burwell Dr. Dwight Swimley Geraldine Bannister Cheré Reneau Stephanie Key Kathleen Weir Vale Mrs. Janelle Tye Friend of the Symphony Jeremey Brimhall Friends of the San Antonio Martin and Frederica Kushner Sebastian Lang-Lessing Symphony Mr. Walter R. Bell Mr. and Mrs. Hall S. Hammond John Carroll, Trumpet Mrs. Carolene Schmidt Zehner Ms. M.A. Espey Taddy McAllister Mr. and Mrs. Morgan T. Edwards Kathleen Weir Vale's birthday Timothy Casey Ms. Coletta Kemper Dr. and Mrs. Victor L. Casiano Ms. Elizabeth De Los Santos Dr. Maureen J. O’Driscoll-Levy Mr. and Mrs. Dan DeBauche Norman Family Foundation Mr. and Mrs. David Simon Anthony Couvillion's Birthday Ms. Kelli Couvillion David Mollenauer San Antonio Symphony Mrs. Janelle Tye Mrs. Janelle Tye Allyson Dawkins, Principal Viola Amy Dameron Phipps Mrs. Janelle Tye The Genevieve & Ward Orsinger Foundation

LIV San Antonio Symphony IN MEMORY OF

Kay Allison Dolores L. Klose Dr. Edward Staffel Jim and Frances Garner Carol Lee Klose and Mr. J. R. Avant Carolyn A. Seale Wade and Lisa Caldwell Buddy Banack Stanley and Marilyn Faye Taddy McAllister Kay Kutchins Kathie and Arlen Fehner Curt and Lorraine Anastasio Tom Benaugh Dr. and Mrs. Lawrence Mr. Samuel Creswell Margaret King Stanley Hoberman John Hudson The Howard Family Mr. Eugene Brieger Mrs. Penny Wiederhold Ms. Helen Kruppa Mr. Barry Mitchell Jack Lewis, Jr. Agnes and Jim Lowe Johnathan Calvert Margaret King Stanley Taddy McAllister Margaret King Stanley Mr. and Mrs. Sherman P. Roman Lubetzky McDaniel Chico Chisano Mrs. Sonia Lubetzky Ms. Sara McLin Taddy McAllister Edith McAllister Ms. Kay Mijangos Lila Cockrell Cary and Walter Bain Kilyong & Paul Natho Taddy McAllister Mr. J. Cary Barton Barbara and Don Novick Mr. Robert Buchanan, The Ms. Olga Orso Taliaferro Cooper Original Mexican Restaurant Cheré Reneau Mr. Robert Buchanan Peggy and Richard Calvert Mrs. Carolyn Sanders Taddy McAllister Mrs. Ann T. Coiner Mr. and Mrs. Alex Scharlack Timothy and Elizabeth Turner Linda Adelman Gintel Deeann and Skinner Simpson Rita Crosby Ms. Joan Hall Dr. Donald Test III Carolyn A. Seale and Mrs. Cynthia Hamilton Kathleen and Albert Vale Carol Lee Klose Mr. and Mrs. Austin E. Helmle Mr. Mark Williamson Mr. and Mrs. Roger R. Mr. and Mrs. Donald Zapara Jim Cullum Hemminghaus Taddy McAllister Wilford Stapp Ms. Elliot Jones Mr. Scott Baird Lt. Col. Bruce B. Dicey Mr. and Mrs. Richard M. Kardys Martha R. Hammond Laura and Weir Labatt III Mrs. Marshall Steves, Sr. Naomi E. Kelia Agnes and Jim Lowe Margaret King Stanley Annaliese M. Rogers Mr. and Mrs. John T. McGuire Suzanne Ware Mr. and Mrs. Fred N. Pfeiffer Dr. J. Howard Frederick Jane Lindell Hughes M.D., Dan and Rhoda Pierce Mrs. Ruth Frederick Ophthalmology & Mr. and Mrs. David A. Schneider Ophthalmic Surgery Tom Frost Rabbi Samuel and Lynn Stahl Agnes and Jim Lowe Margaret King Stanley Margaret King Stanley Mrs. Janelle Tye Dan Webster Ruth Jean Gurwitz Ms. Rita Binkley Worthy Taddy McAllister Carolyn A. Seale and John and Chica Younger Carol Lee Klose Hayden Mackenzie Weissman Beldon Roofing Company and Peyton Marie Weissman Barbara Hayden Bolner's Fiesta Products Inc. Ms. Freda J. Flax Mr. LeRoy R. Hayden, Jr. The Tobin Endowment Emma Jean Wyatt of South John Hur Ora Lee H. Seale Texas Money Management Ms. Freda J. Flax Carolyn A. Seale and P.H. Swearingen, Jr. Carol Lee Klose

San Antonio Symphony LV BOARD OF DIRECTORS

Kathleen Weir Vale, Chair Ernest Bromley Alfredo La Rosa, Treasurer Karen Pozza Frank Stenger-Castro Cindy Marini, Secretary Beverly Purcell Guerra Eric Dupré, Vice Chair Taddy McAllister Ritchie Spence Lauren Eberhart, musician Marguerite McCormick Sheila Swartzman Amy Hardberger Margaret Mireles Don Thomas Susan Fox Harris Ryan Murphy, musician Mark Tolley Joseph Jarmon Michael Ozer James Waters Vickie Kinder Diane Persellin Didi Weinblatt Robert Knapp Brian Petkovich, musician Lynne Wilkerson

ADMINISTRATIVE STAFF

Katie Brill Mary Dominguez Amelia Reyes Manager of Finance Administrator Memberships and Artistic Planning Event Coordinator Tabitha Dunham Jeremy Brimhall Grants Manager Angelica Rivera-Perez Director of Education and Accountant Community Engagement Margaret Hager Artistic Administrative Janni Toomes Corey Cowart Assistant Orchestra Executive Director Personnel Manager Jenna Jernigan Karen Cramer Marketing Manager Sara Vreeland Group Sales and Business Stage & Operations Manager Partner Coordinator Annette Paulin Director of Development

LVI San Antonio Symphony