Texas Rising Stars
2026-03-28 19:30 - 21:00 (America/Chicago) | Bates Recital Hall, 2406 Robert Dedman Drive, Austin, TX, 78712, United States
FREE TICKETS

(En español)
Texas Rising Stars Concert
Bates Recital Hall
Dr. W.P. Sterneman III, Interim Music Director
Matthew Pavon, Guest Conductor
Chris Tran, Guest Conductor
Yusong Zhao, Violin
Mei Liu, Violin
Shijie Li, Violin
(See soloists’ biographies)
🌟 About the Concert
The Texas Rising Stars concert is a celebration of exceptional young musical talent, featuring violinists selected by the Butler School of Music’s string department. Since its debut in 2013, this collaboration between the Austin Civic Orchestra and the University of Texas at Austin has grown into an inspiring annual tradition showcasing artistry, dedication, and rising talent.
🎙️ Pre‑Concert Talk
Join us from 6:30–7:15 pm in room 2.614 (near Bates Recital Hall) for a pre‑concert talk with Interim Music Director Dr. W.P. Sterneman III, focusing on composer Germaine Tailleferre, a remarkable 20th‑century woman whose vibrant works deserve wider recognition.
🎶 Program

Maurice Ravel — Tzigane
Shijie Li, Violin • Chris Tran, Guest Conductor
Franz Waxman — Carmen Fantasie
Yusong Zhao, Violin • Matthew Pavon, Guest Conductor
Béla Bartók — Violin Concerto No. 2, I. Allegro non troppo
Mei Liu, Violin
Germaine Tailleferre — Le Marchand d’oiseaux

This concert reflects our commitment to keeping classical music accessible and to supporting the next generation of performers. It is free of charge as a gift to the Austin community.
🚌 Directions & Parking
Get bus information, directions, and parking details

About The Program Program Notes for Texas Rising Stars, March 28, 2026 TziganeMaurice Ravel (1875-1937) Several foreign lands received the brushstrokes of Ravel’s pictorialism and Gallic wit: Spain—Rapsodie espagnole; Vienna—La valse; and Hungary—Tzigane. The latter work, written in 1924 and dedicated to the violinist Jelly d’Arányi, who gave its first performances, was described by the composer as “a virtuoso piece in the style of a Hungarian Rhapsody.” Clearly, Ravel’s simple description is adequate for the musical situation. The Frenchman’s Tzigane is all fiery temperament, from the extended solo cadenza with which the piece opens to the breathless closing. And if this performer doesn’t make their violin cry, they makes it dazzle by using nearly every technical trick in the book. —John Henken Carmen FantasieFranz Waxman (1906-1967) Georges Bizet (1838–1875) died only three months after the premiere of Carmen, convinced that it was a failure. Not so many years later, it was the most-often performed opera in the international repertoire, and for the better part of a century this music has been popular far beyond the lyric theatre. Pablo Martin Meliton Sarasate y Navascuez (1844–1908) seems to have been the first to discern a specifically violinistic character in Carmen. He wove a virtuosic if somewhat patchy fantasy for violin and piano (Op. 25) out of themes from the opera, and later expanded his potpourri into a concert piece for violin and orchestra – though more than one reference book quite incorrectly ascribes this orchestral version to the Silesian-born American composer and conductor Franz Waxman (1906–1967). Waxman did, in fact, compose the very different Carmen Fantasie. This work is not at all related to the Sarasate composition. Waxman hardly could have brought himself to rearranging what was already a hybrid composition at least once removed from the original. Instead, properly he bypassed Sarasate and went back to Bizet. Franz Waxman “created” his Carmen and Tristan & Isolde Fantasies for the film Humoresque (Warner Brothers, 1947) for John Garfield to “play” on screen to Isaac Stern’s recording on the soundtrack. Jascha Heifetz saw the Joan Crawford–Oscar Levant melodrama based on the famous Fannie Hurst story about the budding career of a young New York violinist (Garfield) and his patron (Crawford). Heifetz asked Waxman to expand the work for him to play on the popular radio program, The Bell Telephone Hour. The composer revised the score between August 13 and October 18, 1946. The premiere performance of September 9, 1946 was a great success and Heifetz toured the world playing Carmen Fantasie. Franz Waxman is best known for the 150+ film scores he composed in Hollywood beginning at Universal Pictures in 1935 with The Bride of Frankenstein. During his Metro-Goldwyn-Mayer period (1936 – 1942), he wrote the music for The Philadelphia Story and seven Spencer Tracy films including Captains Courageous and Dr. Jekyll & Mr. Hyde. Of the four scores for Alfred Hitchcock films, Rebecca is unforgettable. Carmen Fantasie is Waxman’s most-requested concert work and the post-Heifetz generation of violinists has championed the music on every continent. — FranzWaxman.com Violin Concerto No. 2Béla Bartók (1881–1945) Bartók’s Violin Concerto No. 2 is one of the most significant works in the violin concerto repertoire. Written between 1937 and 1938, the concerto is a testament to the Hungarian composer’s unique compositional style and his love for folk music. It is a challenging piece that showcases the violinist’s technical and interpretive skills, and its emotional intensity is sure to move any listener. It is a testament to Bartók’s genius as a composer and his profound understanding of the expressive possibilities of the violin. The concerto is divided into three movements, each with its own distinctive character. The first movement begins with a haunting melody played by the solo violin. The orchestra then enters with a pulsating rhythm, which builds to a frenzied climax before subsiding back to the soloist. The movement is characterized by a dark, brooding atmosphere, with hints of the composer’s signature use of dissonance. — Samuel Frois Le Marchand d’oiseauxGermaine Tailleferre (1892–1983) Known as the only female member of 'Les Six,’ Germaine Tailleferre enjoyed acclaim with them in Paris in the 1920s. She was precociously gifted both as a musician and a painter, and won several first prizes at the Paris Conservatoire; she studied with Koechlin and Ravel. Satie called her his 'fille musicale', and she fitted naturally with the philosophy of 'Les Six,’ emphasizing in the spirit of Stravinskian neo-classicism, brevity, clarity and wit. She lived in America from 1926-7, where Charlie Chaplin was often a live-in guest. He tried to persuade her to come to Hollywood, which she declined, though she was much in demand as a skillful composer of film scores in France in the '30s and '40s. Her concertos of the '30s enjoyed some success and she continued to compose until the end of her long life. Her best compositions are characterized by spontaneity, freshness and charm. Always modest and lacking assertiveness about her work, she summed up her talent as follows: "I write music because it amuses me. It's not great music, I know, but it's gay, light-hearted music which is sometimes compared with that of the 'petits maîtres' of the 18th century. And that makes me very proud." Le Marchand d’oiseaux (The Bird Seller) was premiered by Ballets Suédois on 25 May 1923 at Théâtre des Champs Elysées. Two sisters discover two bouquets on their doorstep. The elder disdains the flowers of the fields and leaves them to her younger one. Joyful, she lets herself be seduced by a simple bird trader. The other receives the homage of a rich masked foreigner. A schoolgirl tears off the mask of the rich man. He's the old merchant of the port; confusion, scaring. The applauded younger walks away gracefully to the arm of the bird trader. This ballet has Tailleferre's characteristic verve and joi de vivre. Writing about her music in the weekly L'Intransigeant she said she "made allusions to several different styles, especially the light and pompous ballets of the 18th century which sparked with good humor." The Pavane for the bird sellers pays homage to both the 18th century and the turn-of-the-century fete galante styles, as well as those of Faure and Ravel. The vital and rhythmic neo-baroque manner is one in which Tailleferre wrote some of her best music. About the Artists Dr. W.P. Sterneman III, Interim Music DirectorDr. Gus, as he is affectionately known, earned his Doctorate in Opera/Musical Theatre Conducting at Arizona State University where his dissertation focused on Benjamin Britten as a conductor and musical interpretation and his Master’s degree at Butler University in Indianapolis with a double major in Instrumental Conducting and Music History. He also holds a Bachelors of Music in Music Theory from Southwestern University. Dr. Gus has been on staff with the Austin Civic Orchestra since 2014, currently serving as their Interim Music Director, having also previously performed with the ensemble in the horn section from 2002-2007. In addition to conducting the educational concert, Link-Up, and the Austin ISD Music Memory Contest, Dr. Gus leads the annual outdoor Pops Concert in June and the Great Masked Waltz Ball for the University of Texas Ballroom Dance Society. Dr. Gus joined the staff of Abiding Love Lutheran Church in South Austin in 2021 as their Director of Worship and Arts, overseeing all aspects of the music program, worship planning, and media technology. In addition to leading the Sanctuary Choir in weekly service, Dr. Gus occasionally joins the band Mixed Blessings on guitar, and directs the biannual Cantata Choir and Orchestra, recently having led Handel’s Messiah and John Rutter’s Requiem. From 2018-2024, Dr. Gus served as the Music Director for the Heart of Texas Chorus, an acappella barbershop chorus in San Marcos, and worked as an active clinician with the Barbershop Harmony Society. Dr. Gus has conducted a variety of ensembles from small chamber groups to full size orchestras, and has worked with ensembles from middle school through collegiate, amateur, and professional organizations on three continents. He has conducted orchestras, opera and musical theatre productions, wind ensembles, and choral organizations. In 2013, he received an AriZoni Award nomination for Best Music Direction in a Non-Contract Theatre for Little Women: The Broadway Musical at Arizona State University. A strong advocate for technology in the classroom, Dr. Gus has taught music technology courses at multiple universities, and has been actively involved with the Association for Technology in Music Instruction (ATMI), where he presented a paper on OpenSource music notation software in 2010. Dr. Gus spends his free time playing tabletop games with his wife, teaching his two children the finer points of musical theatre, and practicing his passion for lutherie and painting miniatures. He feels Menotti is the epitome of English text setting, but always comes home to Beethoven. He enjoys a good pun, but loves a really bad one. And coffee. Lots of coffee. Chris Tran, Guest Conductor Chris Tran is co-director of The University of Texas University Orchestra and Graduate Teaching Assistant for the University of Texas Orchestras and is currently pursuing a Doctor of Musical Arts in orchestral conducting with Farkhad Khudyev at the University of Texas at Austin. Prior to this appointment, Mr. Tran taught for seven years in the Texas public school system as an orchestra director in the Plano, Highland Park, and Clear Creek Independent School Districts. Under his direction, the Clear Falls High School Symphony Orchestra placed 4th in the 2024 Texas Music Educators Association Honor Orchestra Contest. He is an in-demand clinician and adjudicator throughout the state of Texas and has served in many roles with the Texas Music Educators Association and the University Interscholastic League. Mr. Tran has also been an invited conductor at several masterclasses and workshops in Boulder, Los Angeles, Eugene, St. Andrews (Scotland), as well as the Cabrillo Festival of Contemporary Music with Cristian Măcelaru, Thomas Sleeper, and Leonard Slatkin, and the International Conducting Workshop and Festival with the late Larry Rachleff and Donald Schleicher. He has also worked with conductors Neil Thomson, Jeff Grogan, and Sian Edwards. Mr. Tran earned a Master of Music in orchestral conducting from the University of Colorado Boulder (CU-Boulder) with Gary Lewis. At CU-Boulder, he also studied opera conducting with Nicholas Carthy and violin with the late Charles Wetherbee, former concertmaster of the Boulder Philharmonic. Prior to this, he earned a Bachelor of Music in Music Education summa cum laude from Southern Methodist University, studying conducting with Paul Phillips and violin with Diane Kitzman, former principal violin of the Dallas Symphony Orchestra. Matthew Pavon, Guest Conductor Matthew Pavon is a conductor and violist studying orchestral conducting under Farkhad Khudyev at The Butler School of Music. In his role as assistant instructor for university orchestras, Matthew is an active in conductor and administrator for the University Symphony Orchestra. He also serves as co-director for the University Orchestra. Matthew holds viola performance degrees from Evangel University (B.M. '19) and Missouri State University (M.M. '22). While at Missouri State, he served as a graduate assistant for orchestral studies and led the Missouri State University Orchestra and the University Repertory ensembles for three years. After graduating, he continued as the assistant conductor for Missouri State University from 2022 to 2023. Guest conducting appearances have included concerts with the Austin Civic Orchestra, Kansas City Civic Orchestra, the Missouri Philharmonic, Drury University Orchestra, and several orchestral clinics. Matthew believes in supporting the arts in his communities. In 2021, he founded the Galloway Chamber Orchestra in Springfield, MO, and served as their artistic director until July 2024. Matthew has also worked as both a guest conductor and workshop conductor for the Youth Symphony of Kansas City. As a violist, he was an active member of the Springfield Symphony Orchestra for seven years and a frequent substitute violist with the Symphony of Northwest Arkansas. Matthew’s passion is connecting with people of all ages and backgrounds through music. He lives in Austin, TX, with his wife, Leianna, and their two mini-Australian Shepherds, Koda and Ellie. Shijie Li, Violin Shijie Li is a global artist with Hemiola Music and an award‑winning violinist whose accolades include top prizes at the International Music Competition Paris – Grand Prize Virtuoso, the Iscart International Music Competition, the Primuz International String Competition, the Enkor International Violin Competition, the Hong Kong International Violin Competition, the Thomas Cooper International Violin Competition, the Kreutzer International Violin Competition, the Basel International Violin Competition, the Bellagrande International Musician Competition, and the Thaviu String Competition. He is recognized as one of the prominent young rising stars on today’s international concert stage. Shijie has appeared at major festivals and summer programs worldwide, including the Verbier Festival, Bowdoin Music Festival, Meadowmount School of Music, the Heifetz International Music Institute, the “Bravo” International Music Academy, and Young Euro Classic. He has served as Assistant Concertmaster of the China Youth Symphony Orchestra, performed with NYO‑China, and founded both the Tide Piano Trio and the ChenXing String Quartet. His artistic development has been shaped by collaborations and masterclasses with leading musicians such as Feng Ning, Kun Hu, Lucy Robert, Namyun Kim, Zhou Qian, Wolfgane Jahn, Hanxiang Gong, Garrick Ohlsson, Lynn Harrell, Ludovic Morlot, and members of the Amber, Amadeus, and Juilliard Quartets. Born in Beijing, Shijie began violin studies at the age of five. His teachers include Wei Zhao, Tao Yan, and Gerardo Ribeiro at the Central Conservatory of Music in Beijing and at Northwestern University, where he earned both his Bachelor’s and Master’s degrees. He is currently pursuing the Doctor of Musical Arts degree under the mentorship of Brian Lewis at the Butler School of Music at the University of Texas at Austin. Yusong Zhao, Violin Yusong Zhao is currently pursuing his doctoral degree at the University of Texas at Austin on a full scholarship. He completed his undergraduate studies at the Hartt School, University of Hartford, and earned his master’s degree from the Cleveland Institute of Music. In 2025, he joined DFestival in Quanzhou, China, as a string faculty member and as a member of the resident ensemble, the Daedalus Quartet. Yusong began violin studies at the age of four with Liu Mingjian and has since worked with distinguished teachers including Brian Lewis, Katie Lansdale, and Stephen Rose, principal second violin of the Cleveland Orchestra. He has been praised by leading artists such as Nurit Bar‑Josef, concertmaster of the National Symphony Orchestra, who described him as “a highly talented young musician with exceptional technical skill,” and by Edward Cumming, former artistic director of the Hartford Symphony Orchestra, who commended his “warm and expressive” tone. Yusong has performed at major international festivals and competitions. In 2018, he toured Europe with the National Youth Orchestra of China (NYO‑China). In 2023, he was selected for the Pacific Music Festival in Japan, where he served as concertmaster and collaborated with conductor Thomas Dausgaard and violinist Mayumi Kanagawa. His competition successes include first prize in the 2018 Hartt Chamber Music Competition, first prize in the 2021 Paranov Concerto Competition—performing Tchaikovsky’s Violin Concerto with orchestra—and first prize in the 2024 BSOM Concerto Competition, where he performed Shostakovich’s Violin Concerto No. 1 under conductor Farkhad Khudyev. An active orchestral musician, Yusong has performed with the Canton Symphony Orchestra and the Akron Symphony Orchestra. He has also participated in masterclasses with renowned violinists including Rainer Küchl, former concertmaster of the Vienna Philharmonic; Daniel Froschauer, member of the Vienna Philharmonic’s board of directors; and Nurit Bar‑Josef. Mei Liu, Violin Mei Liu is a violinist currently pursuing an Artist Diploma at the University of Texas at Austin, where she also earned her Master of Music under the mentorship of Professor Sandy Yamamoto. She holds dual bachelor’s degrees in Violin Performance and Psychology from Arizona State University, studying with Dr. Katherine McLin. An active orchestral musician, Mei has served as Concertmaster and Principal Second Violin at both ASU and UT Austin, and she performs regularly as a substitute section violinist with the Austin Symphony Orchestra. As a chamber musician and member of the Soha Quartet, she recently won first prize in the Music Teachers National Association Chamber Competition and was named a semi‑finalist in the Plowman Chamber Music Competition. She was also a finalist in the Young Texas Artists Competition. Mei has performed in masterclasses for distinguished artists including Frank Huang, Midori, Norman Fischer, Joseph Lin, Astrid Schween, and members of the Miró, St. Lawrence, and Borromeo Quartets. Austin Civic Orchestra Austin Civic Orchestra Roster Violin 1Carolyn Richards-Chacon, Concert MasterRaymundo Garcia, AssistantSamantha ChaviraRaymond D'AlessioLaura JacobsVivian KwongLeianna PavonLynn PetroDawn SmithSol Swords Violin IIDario Landazuri, PrincipalKyle Bryson, AssistantCollin BrysonDeb ByersFerris DuhonAndrew GoolsbeeCarrie HoustonAdam MontenegroEvan NaveKassandra Rocha VIOLAEugene Gott, PrincipalBrett Osburn, AssistantLiam CaoMark LegerWilliam SatterfieldPaul Zagieboylo VIOLONCELLOJarrod Tuikka, PrincipalTani Barr, AssistantBen BachmeierClaire DittlemierClBrigid DeverJacob LambertCarolin MageeApolinar RomeroCaleb SeboltIsabel TweraserJohn Whitney DOUBLE BASSJames Sproat, PrincipalGarrett JaynesLouis HandyAlana LopezNoah Miller FLUTEMattie Baker, PrincipalLuis Diaz OBOEMadeline Warner, PrincipalElisa PinnoTrish Olives, English Horn CLARINETYuHua Oliphint, PrincipalLaura Gorman BASSOONAmy Crandell, PrincipalMelissa Vauk HORNChristine Simpson, PrincipalAlyssa CollinsKathy NolenDenise Stiglich TRUMPETJose Yznaga, PrincipalRick Kutcher TROMBONERoss Ganske, PrincipalJesse NolenRobert Tung, Bass PIANO/KEYBOARDDavid Kaplan HARPLisa Lamb TIMPANIAlan Smith PERCUSSIONPaul Robertson, PrincipalMatt GarciaKyle GarzaJaxon JedelCollin Tracy TRS Soloists 2013-2025 Texas Rising Stars Soloists 2013 | 2025 2013 | Brian Emmon Hall | Violin | Valse Scherzo, Op. 34 | Tchaikovsky 2013 | Jun Seo | Cello | Cello Concerto No. 2 in D, Allegro moderato | Haydn 2013 | Letitia Jap | Violin | Zigeunerweisen, Op. 20 | Sarasate 2013 | Renata van der Vyver | Viola | Der Schwanendreher, Langsam Massig bewegt, mit Kraft | Hindemith 2014 | Benjamin Penzner | Viola | Viola Concerto in C min, Allegro molto energico | Bach/Casadesus 2014 | Eun Mi Lee | Violin | Violin Concerto No. 5 in A minor, Op. 37, Allegro non troppo | Vieuxtemp 2014 | Grace Youn | Violin | Violin Concerto in D minor, Op. 47, Allegro ma non tanto | Sibelius 2015 | Christabel Lin | Violin | Violin Concerto No. 4 in D, K2, Allegro | Mozart 2015 | Chu Chu | Violin | Polonaise Brillante No. 2, Op. 2 | Wieniawski 2015 | Hao Xing | Violin | Violin Concerto, Op. 1, Allegro moderato | Barber 2015 | Jihyun Kim | Violin | Violin Concerto in D minor, Op. 47, Allegro moderato | Sibelius 2016 | Douglas Kwon | Violin | Violin Concerto in D Major, Op. 3, Allegro moderato | Tchaikovsky 2016 | Magdiell Antequera | Violin | Violin Concerto in D minor, Op. 47, Allegro ma non tanto | Sibelius 2016 | Marisa Ishikawa | Violin | Violin Concerto in E minor, Op. 64, Allegro molto apassionato | Mendelssohn 2017 | Camille Schiess | Violin | Violin Concerto in E minor, Op. , Allegretto non troppo – Allegro molto vivace | Mendelssohn 2017 | Doo Woong Chung | Double Bass | Double Bass Concerto, Op., Allegro | Koussevitsky 2017 | Eunhie Lim | Cello | Cello Concerto in A minor, Op. 129, Nicht zu schnell | Schumann 2017 | Haeni Lee | Violin | Violin Concerto No. 1 in D major, Op. 6, Allegro maestoso | Paganini 2018 | Henry Johnston | Guitar | Concierto del sur for Guitar and Orchestra, Allegro moderato | Ponce 2018 | Nicolás Medina Gutiérrez | Violin | Violin Concerto No. 2 in D minor, Op. 2, Allegro moderato | Wieniawski 2018 | Patrice Calixte | Violin | Violin Concerto in D major, Op. 6, Allegretto ma non troppo | Beethoven 2018 | Seulki Le | Cello | Cello Concerto No. 2 in D major, Op. 10, Allegro moderato | Haydn 2019 | Corina Santos | Violin | Violin Concerto in D mi, Allegro con fermezza | Khachaturian 2019 | Sara Aldana | Violin | Violin Concerto No. 3 in B minor, Op. 6, Allegro non troppo | Saint Saëns 2022 | Dongsub Jeoung | Violin | Violin Concerto in D Major, Op. , Allegro non troppo | Brahms 2022 | Josh Liu | Violin | Violin Concerto in D Major, Op. 3, Finale | Tchaikovsky 2022 | Nick Hammel | Violin | Poème for Violin and Orchestra, Op. | Chausson 2023 | Margaret King | Violin | Violin Concerto No. 5 in A Major, K. 21, Allegro aperto – Adagio – Allegro aperto | Mozart 2023 | Benjamin Kronk | Violin | Violin Concerto, Andante tranquillo | Walton 2023 | Tony Sanfilippo | Double Bass | Double Bass Concerto, Op 3, Allegro | Koussevitzky 2024 | Emmanuelle (Ellie) Sievers | Violin | Violin Concerto in D minor, Op. 47, I. Allegro, ma non tanto | Sibelius 2024 | Katsuaki Arakawa | Cello | Cello Concerto in A minor, Op. 129, Nicht zu schnell | Schumann 2024 | Aytahn Benavi | Guitar | Guitar Concerto No. 1, Allegretto | Castelnuovo | Tedesco 2025 | Jason Sheng | Chieh Lan | Viola | Concerto for Viola, I. Andante comodo | Walton 2025 | Yida An | Violin | Violin Concerto in D minor, Op. 26, Allegro con fermezza | Khachaturian 2025 | Zichuan (Kevin) Wang | Violin | Violin Concerto in A Major, Op. 8, Allegro moderato | Karłowicz With 2-4 soloists for each concert, there have been 36 soloists in 11 years.4 cellos, 2 double bass, 2 guitar, 3 violas, 23 violinOnly 6 repeated concertos!

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🎨 Support Acknowledgment
This project is supported in part by a grant from the Texas Commission on the Arts, an award from the National Endowment for the Arts, and an Elevate Grant of Austin Arts, Culture, Music and Entertainment.

Music Memory
2026-04-25 10:00 - 11:30 | Austin ISD Performing Arts Center, 1500 Barbara Jordan Blvd, Austin, TX, 78723, United States
Dr. W.P. Sterneman III, Interim Music Director
The Austin Civic Orchestra serves as the performing group for the final event of Music Memory. Collaborating with the Austin ISD Fine Arts department, teams of elementary students convene at the Austin ISD’s Performing Arts Center after they have listened to and learned about the 16 pieces featured in the contest list, both at home and in school. Each team utilizes an iPad to capture their responses. The orchestra performs a 15-second clip from the pieces in a random sequence, and the students are tasked with identifying both the composer and the title of the music. The enthusiasm displayed by the students is infectious, enhancing the enjoyment of the event for everyone involved.

The Extraordinary Woman
2026-05-09 16:00 - 17:30 | The Austin Stone Northwest, 9001 North FM 620, Austin, TX, 78726, United States
TICKETS
Youth are always free with discounts available for adults.
(En español)
Dr. W.P. Sterneman III, Interim Music Director
Ebonee Thomas, Flute (biography)
Throughout history, women have used intelligence, artistry, and resilience to shape the world around them. The Extraordinary Woman celebrates these voices through powerful orchestral storytelling, featuring music that embodies brilliance, strength, and boundless imagination.
Artwork created by Austin-area youth while listening to Scheherazade will be on display while the orchestra plays the piece.
Overture for the End of a Century for Orchestra by Libby Larsen
Bilder vom Jahrmarkt (Scenes from a Fair) by Grete von Zieritz for Flute and Orchestra. Ebonee Thomas, Flute
Scheherazade, Op 35 by Rimsky-Korsakov
Come at 3:15 pm for a pre-concert talk. Our Interim Music Director, Dr. W.P. (Gus) Sterneman III will talk about Scheherazade. Location is on the second floor, accessible from the lobby.

About the Program Program Notes for The Extraordinary Woman, May 9, 2026 Overture for the End of a CenturyLibby Larsen (b. 1950) Libby Larsen is one of America’s most performed living composers. She has created a catalogue of over 500 works spanning virtually every genre from intimate vocal and chamber music to massive orchestral works and over 15 operas. Grammy award-winning and widely recorded, including over 50 CDs of her work, she is constantly sought after for commissions and premieres by major artists, ensembles, and orchestras around the world, and has established a permanent place for her works in the concert repertory. As a vigorous, articulate advocate for the music and musicians of our time, in 1973 Larsen co-founded the Minnesota Composers Forum, now the American Composer’s Forum, which has become an invaluable aid for composers in a transitional time for American arts. A former holder of the Papamarkou Chair at John W. Kluge Center of the Library of Congress, Larsen has also held residencies with the Minnesota Orchestra, the Charlotte Symphony, and the Colorado Symphony. (note by the composer) The Overture for the End of a Century takes its melody, harmony and color from the tradition which has defined the orchestra in our century. At the same time the work explores some approaches to sound which have become part of our musical world in the last part of this century: the mixing board which can make a foreground elements which were once heard as background only; the computer screen, which can make fragments as interesting as complete lines; and the synthesizer, with its new sounds, and emphasis on color and pulse. The overture is in ABA form. The opening presents all the elements of the work: melody; static rhythmic line; the single chord; the idea of repetition. Next, static rhythm and the single chord are highlighted: the static rhythm is treated as a supporting line to the single chord, which fades in and out as if someone were moving the volume slider on a mixing board smoothly up and down. In the "B" section, all four elements of the piece are presented in fragments, with the chord passed rapidly around the orchestra, as if it were playing hot-potato. In the return of "A", there is a recapitulation of the melody and a restatement of the four elements. Finally, the four elements combine in a decrescendo-crescendo to the end of the piece. — Libby Larsen Scenes from a FairGrete von Zieritz (1899-2001) Grete von Zieritz was born in Vienna, Austria on 10 March 1899, into a noble family, and grew up in Vienna, Innsbruck and Graz. She received her first piano lessons at the age of six, and later studied at the Styrian Conservatory in Graz, studying piano with Hugo Kroemer and composition with Roderich Mojsisovics von Mojsvar. She gave her first concert at age eight. Moving to Berlin in 1917, she continued her studies with Martin Krause, a student of Franz Liszt, and Rudolf Maria Breithaupt. After the successful performance of her "Japanese Songs" in 1921, she decided to become a composer. Von Zieritz worked as a music teacher at the Stern Conservatory, and continued to study in Berlin from 1926 to 1931 under Franz Schreker. She toured in Germany and abroad, often performing her own works, and won the Mendelssohn state prize for composition in 1928. She was also awarded a Schubert scholarship by the Columbia Phonograph Company of New York. In 1939, she was the only woman at the International Music Festival in Frankfurt among composers from 18 nations. The Austrian Federal President appointed her as Professor in 1958; she was the first woman composer to be so honored in Austria. In 1988, on the occasion of her 89th birthday, a concert was performed in her honor, given by the Moscow Philharmonic Orchestra. Grete von Zieritz wrote over 250 works for various ensembles. Bilder vom Jahrmarkt, a composition for flute and orchestra, was published in 1937. — Wikipedia ScheherazadeNikolai Rimsky-Korsakov (1844–1908) Nikolai Rimsky-Korsakov based his Scheherazade on the Arabic collection of fairy tales The Thousand and One Nights, which tells of the Sultan Shahriar, who, deeming all women faithless after being betrayed by his most trusted wife, has one member of his harem brought to him each evening and executed the following morning. The Sultana Scheherazade, however, concocts a plot whereby her life will be spared. She tells the Sultan a new story each night for a thousand and one nights, never revealing the story’s conclusion until the following evening. The Sultan, unable to contain his curiosity about the outcome of these enchanting tales, delays her execution from day to day. During this long process, the Sultan falls in love with Scheherazade and abandons his brutal plan. We may assume that they lived happily ever after. In his autobiography, My Musical Life (1909), Rimsky-Korsakov wrote: “the titles for the four individual sections…were intended only as hints to direct but slightly the individual listener…. All I had desired was that the hearer, if he liked my piece as symphonic music, should carry away the impression that it is an oriental narrative of some numerous fairy-tale wonders and not merely four pieces played one after the other and composed on themes common to all four movements….Why then, if that be the case, does the suite bear the name of Scheherazade? Because this name and the title The Arabian Nights connote in everybody’s mind the East and fairy-tale wonders; besides, certain details of the musical exposition hint at the fact that all of these are various tales of some one person (who happens to be Scheherazade) entertaining therewith her stern husband.” There are two major recurring musical motifs in the suite, both introduced in its opening measures: those of the Sultan—low brass and woodwinds, supported by the strings—and the seductively sinuous theme of Scheherazade, portrayed primarily by the solo violin. The work ends not with the shipwreck, but with a gentle solo violin epilogue: a vision of Scheherazade herself, who had many more tales to spin. The first performance of Scheherazade was given in November 1888 in St. Petersburg. The composer conducted. — Herbert Glass About the Artists Dr. W.P. Sterneman III, Interim Music DirectorDr. Gus, as he is affectionately known, earned his Doctorate in Opera/Musical Theatre Conducting at Arizona State University where his dissertation focused on Benjamin Britten as a conductor and musical interpretation and his Master’s degree at Butler University in Indianapolis with a double major in Instrumental Conducting and Music History. He also holds a Bachelors of Music in Music Theory from Southwestern University. Dr. Gus has been on staff with the Austin Civic Orchestra since 2014, currently serving as their Interim Music Director, having also previously performed with the ensemble in the horn section from 2002-2007. In addition to conducting the educational concert, Link-Up, and the Austin ISD Music Memory Contest, Dr. Gus leads the annual outdoor Pops Concert in June and the Great Masked Waltz Ball for the University of Texas Ballroom Dance Society. Dr. Gus joined the staff of Abiding Love Lutheran Church in South Austin in 2021 as their Director of Worship and Arts, overseeing all aspects of the music program, worship planning, and media technology. In addition to leading the Sanctuary Choir in weekly service, Dr. Gus occasionally joins the band Mixed Blessings on guitar, and directs the biannual Cantata Choir and Orchestra, recently having led Handel’s Messiah and John Rutter’s Requiem. From 2018-2024, Dr. Gus served as the Music Director for the Heart of Texas Chorus, an acappella barbershop chorus in San Marcos, and worked as an active clinician with the Barbershop Harmony Society. Dr. Gus has conducted a variety of ensembles from small chamber groups to full size orchestras, and has worked with ensembles from middle school through collegiate, amateur, and professional organizations on three continents. He has conducted orchestras, opera and musical theatre productions, wind ensembles, and choral organizations. In 2013, he received an AriZoni Award nomination for Best Music Direction in a Non-Contract Theatre for Little Women: The Broadway Musical at Arizona State University. A strong advocate for technology in the classroom, Dr. Gus has taught music technology courses at multiple universities, and has been actively involved with the Association for Technology in Music Instruction (ATMI), where he presented a paper on OpenSource music notation software in 2010. Dr. Gus spends his free time playing tabletop games with his wife, teaching his two children the finer points of musical theatre, and practicing his passion for lutherie and painting miniatures. He feels Menotti is the epitome of English text setting, but always comes home to Beethoven. He enjoys a good pun, but loves a really bad one. And coffee. Lots of coffee. Ebonee Thomas, Flute Ebonee Thomas is an Assistant Professor of Flute at the Butler School of Music at the University of Texas, the second flute and piccolo for The Dallas Opera, and has previously served as principal flute of the Knoxville Symphony, principal flute of the Florida Grand Opera, and second flute of the Houston Symphony. She spends her summers as a flutist at Lakes Area Music Festival and Music in the Mountains, and has been guest principal with symphonies and operas across the country. A passionate pedagogue, Thomas served as a member of the board of the Greater Dallas Youth Orchestras and is on the national advisory board of the Memphis Youth Symphony Program. She is also currently the piccolo committee chair for the National Flute Association. An avid chamber musician, Thomas has worked with the Austin Chamber Music Society and Voices of Change, a new music ensemble in Dallas. She was a finalist for the Austin Arts Awards for her performance of Valerie Coleman’s Danza de la Mariposa. She recently made her debut performance with the ensemble NEWSRQ, a contemporary ensemble highlighting living and underrepresented composers. She has also participated in unique projects—like serving as principal flute of the Star Wars in Concert! Orchestra during their U.S., Canada, and Mexico tours. Additionally, she was part of the Re-Collective Orchestra, the first all-Black orchestra to perform to a sold-out crowd at the Hollywood Bowl. She has performed all over the world, and some of her favorite venues include The Elbphilarmonie in Germany and Musiikkitalo in Finland.Thomas received her Bachelor of Music in flute performance from Southern Methodist University and her Master of Music from New England Conservatory of Music. She is a Burkart Piccolo Artist and plays on a Burkart Elite piccolo and 998 flute. ACO Concert Roster VIOLIN ICarolyn Richards-Chacon, ConcertmasterRaymundo Garcia, AssistantRaymond D'AlessioLaura JacobsLynn PetroDawn SmithSol Swords VIOLIN IIDario Landazuri, PrincipalKyle Bryson, AssistantDeborah ByersFerris DuhonAndrew GoolsbeeEvan Nave VIOLAEugene Gott, PrincipalBrett Osburn, AssistantDavid KaplanMark LegerJared LomanginoRonda von SehrwaldPaul Zagieboylo VIOLONCELLOJarrod Tuikka, PrincipalJohn Whitney, AssistantClaire DittlemierJacob LambertCaroline MageeHenry NachmanNicole PajarilloApolinar RomeroCaleb Sebolt DOUBLE BASSJames Sproat, PrincipalLouis HandyAlana LopezNoah Miller FLUTEMarcia Gillespie-Norder, PrincipalMattie BakerBrian Teran, Piccolo OBOEMadeline Warner, PrincipalTrish Olives, English Horn CLARINETYuHua Oliphint, PrincipalLaura Gorman BASSOONAmy Crandell, PrincipalMatthew Emanuelson HORNAlyssa Collins, Co-PrincipalSean Holmes, Co-PrincipalKathy NolenElliot PetersDenise Stiglich TRUMPETJose Yznaga, PrincipalRandy HowardRick Kutcher TROMBONERoss Ganske, PrincipalJesse NolenRobert Tung, Bass TUBAGuytano Martorano PIANODavid Kaplan HARPLisa Lamb TIMPANIAlan Smith PERCUSSIONPaul Robertson, PrincipalKyle GarzaJaxon JedeleJJ PereiraCollin Tracy About the Paint to Music Program Paint to Music Program Each year, the Austin Civic Orchestra invites area music and art teachers to participate in our annual Paint to Music program. Elementary students—ages 8 to 11—create artwork while listening to a recording of the year’s selected orchestral piece. For 2026, students responded to the vivid storytelling and musical colors of Rimsky Korsakov’s Scheherazade.All submitted artwork is included in a slideshow that will be displayed during the live performance of Scheherazade, allowing students and the audience to see their creations come to life alongside the music that inspired them. We extend our heartfelt thanks to the following schools and teachers for contributing their time, creativity, and enthusiasm to this year’s program: Austin ISDCowan Elementary: Crysta Wohleb, Music; Mollie Deeb, ArtWooldridge Elementary: Belicia Gonzalez, ArtBastrop ISDEmile Elementary: Deanna Bodine, Music; Megan Hoover, ArtTheir dedication helps young artists discover the joy of connecting music and visual expression, and we are grateful for their partnership in this beloved community tradition.

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Please consider making a donation when obtaining a ticket or by clicking the button above. We depend on individual donations to help us continue to bring concerts like this to the Austin Community.

Thank you to the following business that support the Austin Civic Orchestra:

This project is supported in part by a grant from the Texas Commission on the Arts, an award from the National Endowment for the Arts, and an Elevate Grant of Austin Arts, Culture, Music and Entertainment.

Zilker Park Concerts - It's About Time
2026-06-06 20:30 - 22:00 | Hillside Theatre at Zilker Park, 2206 William Barton Drive, Austin, TX, 78746, United States
FREE TICKETS
Dr. W.P. Sterneman III, Interim Music Director
Matthew Pavon, Guest Conductor
Date: June 6
Time: 8:30 PM
Location: Zilker Park Hillside Theater
Parking Information
Each year, the ACO hosts a free pops concert in the park and we’re thrilled to return to the Zilker Hillside Theatre this year. Be sure to bring a blanket or low chair, along with your children, neighbors, and dogs as you relax on the hillside and enjoy the performance by the musicians and friends of the Austin Civic Orchestra.
This year’s concert is It’s About Time. The evening will be filled with favorites from Back to the Future, Somewhere in Time, Star Trek, Doctor Who, Groundhog Day, Avenger’s Endgame, Tenet, Terminator 2: Judgement Day, and Quantum Leap as the Orchestra, small ensembles and soloists take you out this time.
As a cherished tradition, we conclude the concert with Sousa’s Stars and Stripes Forever, conducted by a lucky winner drawn from the audience. This winner could be you!

DONate Now
Please consider making a donation when obtaining a ticket or by clicking the button above. We depend on individual donations to help us continue to bring concerts like this to the Austin Community.

This project is supported in part by a grant from the Austin Parks Foundation, the Texas Commission on the Arts, an award from the National Endowment for the Arts, and an Elevate Grant of Austin Arts, Culture, Music and Entertainment.
