A Lone Star Holiday: Music, Magic, & Merriment
2025-12-13 16:00 - 17:30 (America/Chicago) | McCallum High School Fine Arts Center, 5600 Sunshine Drive, Austin, TX, 78756
(En español)
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December 13, 2025 | 4 pm
McCallum High School Fine Arts Center
5600 Sunshine Drive
Austin, TX 78756

Dr. W.P. Sterneman III, Interim Music Director
TK Kenney, Narrator
Julia Watkins-Davis, Soprano
Maureen Broy Papovich, Alto
Bruce Douglas, Tenor
Jake Skipworth, Bass

Program
Bill Holcombe
‘Twas the Night Before Christmas
TK Kenney, Narrator
Alan Silvestri y Glen Ballard, arr Jerry Brubaker
Concert Suite from The Polar Express
Ralph Vaughan Williams
Fantasia on Greensleeves
Georges Bizet
Farandole – L’rlesienne Suite No. 2
Bill Holcombe
Festive Sounds of Hanukkah
Golden Tickets winners come on stage
Leroy Anderson
Sleigh Ride
INTERMISSION
Peter Ilitch Tchaikovsky
Nutcracker Suite
Overture Miniature
Characteristic Dances: March, Coffee, Dance of the Sugar
Plum Fairy, Tea, Trepak, Mirlitons
Waltz of the Flowers

arranged by Lucas Richman
Christmas Sing-Along
Julia Watkins-Davis, Soprano
Maureen Broy Papovich, Alto
Bruce Douglas, Tenor
Jake Skipworth, Bass
Raffle to conduct the orchestra
J. Pierpont/Sousa, setting by Robert W. Smith
Jingle Bells Forever
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ABOUT THE PROGRAM Lone Star Holiday Concert ‘Twas the Night Before Christmas - (note by the composer) Clement Clarke Moore, an American poet born in New York City in 1779 is credited with the writing of “A Visit To St. Nicholas” for his children in 1822. It was first published anonymously in the Troy (New York) Sentinel in 1823. Moore was educated at Columbia College (now Columbia University). Clement Clarke Moore passed away in 1863, but his poem which begins– “Twas the Night Before Christmas” will live on forever. This music was commissioned for a Christmas Concert by the Philly Pops conducted by Peter Nero, and was designed to feature the Phillie’s star pitcher Tug McGraw. Since the premiere in the 80’s, many orchestras have featured a prominent citizen as the narrator: Radio and TV personalities, politicians, principals of schools, etc. — Bill Holcombe Concert Suite from The Polar Express – The Concert Suite from The Polar Express is a suite of four tunes from the 2004 Christmas-themed film starring Tom Hanks. The movie, which employed motion capture computer-animation, is based on the popular children's book of the same title by Chris Van Allsburg. The songs are “Believe,” which earned a Grammy Award, “The Polar Express”, “When Christmas Comes to Town” and “Spirit of the Season”. The music was composed by veteran movie music writers Alan Silvestri and Glen Ballard, and arranged by Jerry Brubaker. Fantasia on Greensleeves - The tune “Greensleeves” has worn a number of texts over the centuries, gaining its Christmas dress in the 19th century with William Chatterton Dix’s text “What Child is this, who laid to rest, on Mary’s lap is sleeping.” Although Vaughan Williams composed a number of works for the Christmas season, his Fantasia on Greensleeves was not written with a Christmas connection at all. Building on Shakespeare’s reference to the popular 16th century folk tune “The Ballad of My Lady Greensleeves” in the play, The Merry Wives of Windsor, the composer combined it with a folk song from Norfolk to create atmospheric music for Sir John in Love, an opera based on that play. Vaughan Williams’ arrangement heard today is scored for flutes, harp and strings, a sound befitting either an Elizabethan drama or a lullaby for the nativity. — Linda Mack, Denver, CO, used by permission L'Arlesienne Suite No. 2 - Bizet’s short life of thirty-six years was largely filled with disappointments. In the end he was not even to know that his opera Carmen would become one of the most popular operas of all time, as he died three months following its disastrous premiere. Following early studies with his parents, he was enrolled in the Paris Conservatoire. There he excelled, winning many prizes including the premiere composition prize, the Prix de Rome, at age 19. Bizet had not done much travel prior to the trip to Rome, therefore the journey through the landscapes of the south of France and Italy made a particularly strong impression on the young man. This experience proved fruitful when in 1872 Bizet was engaged to provide incidental music for the Théâtre Lyrique production of Daudet’s L’arlésienne (The Woman of Arles). The composer provided twenty-seven pieces for stage orchestra to accompany the action, much of it played under spoken dialogue. Daudet was thrilled with the music that so eloquently captured the essence of Provence and its people, but the whole enterprise was not well received by the Parisian audiences and theater critics. A few musicians, including Massenet, understood the quality of the music and encouraged the composer to recast the music for concert use. Bizet quickly arranged four pieces for full orchestra, and that group, Suite No. 1, proved a success in the concert hall from its first hearing in November of that same year. It wasn’t until after the composer’s death that his lifelong friend, Ernest Guiraud, arranged four more pieces into the Suite No. 2. It is interesting to note that the Farandole is one of three Provençal folk tunes utilized in the complete incidental music. — Linda Mack, used by permission Festive Sounds of Hanukah - This festive medley celebrates all the most beloved songs of Hanukah, including “Maoz Tsur” (Rock of Ages), “Mi Y’ Malel” (Who Can Retell), “Hanukah, Hanukah,” “My Dreidel,” “S’ Vivon” (Spin, Dreidel), and “Hanukah, O Hanukah.” Sleigh Ride - The music of Leroy Anderson, a composer of distinctive and delightful miniatures, is firmly entrenched in American popular culture. Many of his works were introduced by the Boston Pops Orchestra under the direction of Arthur Fiedler. John Williams described Anderson as "one of the great American masters of light orchestral music." The Andersons spent the summer of 1946 at Painter Hill in Woodbury, Connecticut. It was here that he composed Sleigh Ride during a heat wave. Nutcracker Suite - A staple of musical holiday fare is Tchaikovsky’s Nutcracker. If people have not seen or heard of another ballet, they certainly recognize tunes that portray the sugar plum fairy or the waltzing flowers. The first performance of the Nutcracker Suite was performed in St. Petersburg March 7, 1892, as a sneak preview for the complete ballet, and was a great success with the public. It was the ballet itself, an adaptation from E.T.A. Hoffman’s fairy tale, The Nutcracker and the Mouseking, that had trouble gaining a foothold in the ballet repertory–in fact it was a 75-year journey to acceptance. Without the composer’s marvelous music, the ballet surely would not have survived. Today the story of the young Clara, her love for her “ugly” nutcracker, the growing Christmas tree, the battle between the toys and mice, Clara’s role in the release of the enchanted prince from his spell, and the journey through the snow to the kingdom of sweets where the sugar plum fairy reigns as queen, has become famous through live ballet performances, TV, film, cartoons, books, websites, and toys. While the Suite does not include much of the music that carries the plot of the story, it does present a sampling of the wonderful melodies and distinctive tone colors that characterize all the music of the ballet. Perhaps the most dramatic example of the care that Tchaikovsky took with color was his desire to use a new instrument, the celesta, to depict the lightness and grace of the Sugar Plum Fairy. Patented in Paris in 1886, the celesta (an instrument made of metal bars played from a keyboard) was not well known at the time. Tchaikovsky ordered an instrument for this piece, but asked that its purchase be kept a secret as he didn’t want another composer–particularly Rimsky-Korsakov–to “steal” his idea. The maneuver worked, the instrument has since become a regular orchestral keyboard instrument, but continues to be best known in its original role as the voice of the Sugar Plum Fairy. The Suite begins as does the ballet, with an Overture, orchestrated with light strings and winds, which invites us to enter the magical world of the fairy tale. Immediately following is the March which introduces the Christmas party scene. The remaining pieces are all second act characteristic dances, which take place in the Kingdom of Sweets, illustrated by appropriate orchestral colors. 1) Dance of the Sugar Plum Fairy; 2) Russian Dance (Trepak); 3) Arabian Dance (Coffee); 4) Chinese Dance (Tea); 5) Dance of the Mirlitons (reedpipes—kazoo-like instruments, but actually played by flute trio); 6) Waltz of the Flowers brings the suite to a grand conclusion with woodwind and harp introduction, then the horns lead the way to the dance. — Linda Mack, used by permission Christmas Sing-Along - Deck your concert hall with a joyful and heartwarming medley of some of the most beloved Christmas carols, including “Joy to the World,” “Oh Come All Ye Faithful,” “O Little Town of Bethlehem,” “Angels We Have Heard on High,” “The First Noel” and “Deck the Hall.” A spirited sing-along guaranteed to delight audiences young and old! Commissioned by the Pittsburgh Symphony Orchestra, this arrangement has been a perennial favorite for numerous ensembles across the United States! Jingle Bells Forever – Jingle Bells Forever is a setting of two American favorites that weaves the melodic line from Pierpont’s “Jingle Bells” through Sousa’s unmistakable march style. Drawn from “The Stars and Stripes Forever,” Sousa’s immortal march that has become the official national march of the United States, the familiar strains provide the perfect accompaniment for the most festive of Christmas melodies. Sousa’s famous grandioso with the piccolo descant and trombone countermelody draw this new holiday concert standard to a rousing conclusion. — Robert W. Smith ABOUT THE ARTISTS Dr. W.P. Sterneman IIIDr. 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. TiWanna Kenney TiWanna Kenney or TK faithfully serves nonprofits and organizations as a high energy, no-nonsense community builder. This do-gooder is in the business of raising critical funds while bursting stereotypes and stigma. As the first African American woman (and currently only 1 of 3) to hold a Benefit Auction Specialist (BAS) designation from the National Auction Association, TK has been changing the face of the auctioneering industry since 2015 – literally. TK attended the University of Oklahoma, is an auctioneering graduate of McLennan Community College, a small business owner. TK grew up in a military family and was living in Germany when the Berlin Wall fell. She credits this momentous historical event with her burning desire for justice and equality. TK is a former Army reservist herself who, like so many others, was called to active duty after 9/11. Thank you for your service, TK. A bilingual (English/Spanish) nationally renowned speaker, TK regularly presents on leadership, empowerment, diversity and development. She also teaches auctioneering at her alma mater. When not busy changing the world, TK loves travel, culture and food (she even chooses vacation destinations throughout the world based on whether they offer Michelin-starred restaurants to enjoy!). One can often find her reading, cooking or volunteering. ACO CONCERT ROSTER VIOLIN IRaymundo Garcia, Concert MasterLeianna Pavon, AssistantRaymond D'AlessioErika ElderLaura JacobsVivian KwongAlissa MadsenLynn PetroDawn SmithSol SwordsSarah Uy VIOLIN IIDario Landazuri, PrincipalKyle Bryson, AssistantAlessandro Cavedoni-VillegasFerris DuhonAndrew GoolsbeeCarrie HoustonAdam MontenegroEvan Nave VIOLAEugene Gott, PrincipalMark Leger, AssistantJustin AndersonLizi LiJared LomanginoArt MonzingoIona OliveWilliam SatterfieldAmanda TofflemireRonda von SehrwaldPaul Zagieboylo VIOLONCELLOJarrod Tuikka, PrincipalTani Barr, AssistantBen BachmeierSarah CrawfordBrigid DeverClaire DittlemeirJacob LambertCaroline MageeHenry NachmanNicole PajarilloCaleb SeboldtJohn Whitney DOUBLE BASSJames Sproat, PrincipalGarrett JaynesLouis HandyAlan LopezNoah Miller FLUTEMarcia Gillespie-Norder, PrincipalMattie BakerAnna Coogan, Piccolo OBOEMadeline Warner, PrincipalElisa PinnoTrish Olives, English Horn CLARINETYuHua Oliphint, PrincipalLaura GormanLuis Corpus, Bass Clarinet BASSOONAmy Crandell, PrincipalMelissa Vauk HORNChristine Simpson, PrincipalAlyssa CollinsKathy NolenDenise Stiglich TRUMPETJose Yznaga, PrincipalRandy HowardDavid JonesRick Kutcher TROMBONERoss Ganske, PrincipalJesse NolenRobert Tung, Bass TUBAKenny Tsao PIANOLan-Thach Kratzke HARPLisa Lamb TIMPANIAlan Smith PERCUSSIONPaul Robertson, PrincipalMatt GarciaKyle GarzaSteven GarzaCollin Tracy

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Harmony for All: A Community Celebration of Music
2026-02-07 16:00 - 17:30 | Rodney And Mary Klett Performing Arts Center, 2211 N Austin Ave, Georgetown, TX, 78626
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Programa en español
Dr. W.P. Sterneman III, Interim Music Director (biography)
Matthew Stiglich, Guest Conductor (biography)
Adalia Stiglich, Harp (biography)
Austin Soundwaves Chamber Ensemble:
Miranda Barajas-Arellano, Double Bass
Jordyn Broaders, Flute
Alfredo González Hernández, Violin
Andrew Salazar, Euphonium
Alexander Sutton, Clarinet/Bass Clarinet

Music has the power to inspire, unite, and uplift — and this program stands as a beautiful testament to the strength of artistic collaboration. With our volunteer civic orchestra led by our interim music director, joined by a guest conductor, a featured harp soloist, and the talented young musicians of Austin Soundwaves, this concert brings together artists across generations.
Together, we honor the impact of music education, celebrate community engagement, and revel in the shared joy of making music. We invite you to join us for an afternoon that reflects the very heart of our mission: connecting people through the transformative experience of live orchestral performance.
Location: Klett Performing Arts Center at Georgetown High School, 2211 N Austin Ave, Georgetown
Program:
Sixth Fanfare for the Uncommon Woman by Joan Tower
Adoration by Florence Price, arr. by Alexandra Dee/Gabriela Mora-Fallas
“American Quintet:” Finale from String Quartet Op. 96, by Antonín Dvořák, arr. by Steve Winstead/Gabriela Mora-Fallas
Austin Soundwaves Chamber Ensemble
Harp Concerto Op. 25, Mvmt. 3 by Alberto Ginastera, Adalia Stiglich, Harp
Matthew Stiglich, Conductor
Voices Shouting Out: A Symphonic Work by Nkeiru Okoye
Symphony No. 8 by Antonín Dvořák
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About the Program Harmony for All: A Community Celebration of Music Program Notes Sixth Fanfare for the Uncommon Woman - Across her enduring and celebrated career, Fanfare for the Uncommon Woman has become something of a calling card for composer Joan Tower. Each of her fanfares, which playfully riff on the name of Aaron Copland’s Fanfare for the Common Man, are dedicated to noteworthy women who are “risk-takers and adventurers.” Tower is often hailed as a trailblazer for women composers as an artist who started her career during the 1960s during an era when female names were not found as readily in the concert program. Along with composers like Ellen Zwilich, Tower is seen by many as part of a generation of composers who helped open up the symphonic world for more women who followed them, and Tower said she’s proud to be given that label. Tower’s Sixth Fanfare is dedicated to “the intrepid Hillary.” — Ricky O'Bannon Adoration - With the re-discovery of Florence Price’s music in 2009, Price’s legacy in the form of manuscripts, letters, and personal items were uncovered in her abandoned summer home on the outskirts of St. Anne, Illinois. Her life, heavily researched by the musicologist Douglas Shadle, revealed a prolific composer of keyboard, chamber, and orchestral works, including two violin concertos, a teacher, mother, and an active participant in the National Association for Negro Musicians (NANM) and the National Federation of Music Clubs. The performance of her “Symphony in E-minor” with the Chicago Symphony Orchestra in 1933 is the first time any major orchestra had performed music composed by an African American woman. Composed two years before her death in 1953, Price’s “Adoration” was originally written for organ. As the title suggests, the brief 3-minute work channels a sacred devotion common with liturgical hymnody. The form is ternary, beginning with a long meditative melody accompanied by a bed of harmony. A responsorial section leads to a richer, slower section that rises and falls in melodic contour, reaching its expressive peak. The work ends returning to the opening melody, cadencing the musical prayer in Amen. — Michael-Thomas Foumai Dvorák String Quartet No. 12, “American”, Op. 96 - Antonín Dvorák produced 14 string quartets during his lifetime. Dvorák composed String Quartet No. 12, “American”, Op. 96 during the summer of 1893 while on vacation in Spillville in northeast Iowa, home to a Czech immigrant community. Dvořák sketched the quartet in three days and completed it in thirteen more days, finishing the score with the comment "Thank God! I am content. It was fast." The result is one of Dvorák’s most well-recognized works. Fascinated by Native and African-American music, Dvorák mixed these new colors with his own musical background throughout this quartet. Many of the themes are derived from the pentatonic scale, a scale made up of five notes rather than the traditional eight-tone scale. The piece is also filled with an abundance of accented notes on off beats, also known as syncopation, as well as foot-tapping rhythms. The Finale, Vivace ma non troppo, is filled with energy and syncopated rhythms heard and above this rhythmic accompaniment, the melody sings freely. Ginastera Harp Concerto - Alberto Ginastera was the leading Argentinian composer of the 20th century, arguably surpassed only by his onetime student, Astor Piazzolla. Early in his career, he developed a nationalist style of orchestral music—creating an imagined soundtrack for the Argentinian gaucho akin to what Aaron Copland did for the American cowboy. (Copland, in fact, mentored Ginastera at Tanglewood when he received a Guggenheim fellowship to study in the United States, and they remained friends.) Later, Ginastera became increasingly involved with experimental music, gradually shifting his style away from the one that first made him famous. Ginastera’s Harp Concerto was commissioned in 1956 by Edna Phillips, the principal harpist of the Philadelphia Orchestra, and the first woman to be a member of that orchestra. She had been a student of Carlos Salzedo, the pedagogue and composer who revolutionized modern harp technique. Building on that tradition, Phillips was always looking for new works to expand her instrument’s repertoire. Originally her idea was to premiere the concerto at the 1958 Inter-American Festival, which took place in Washington, DC, and featured composers from Canada down to Argentina. Ginastera, however, didn’t complete the piece in time (his String Quartet No. 2 was premiered instead), and he continued to delay until 1964. By that time, Phillips had retired from playing, and so the Philadelphia Orchestra premiered it the following year with the Spanish harpist Nicanor Zabaleta as soloist, conducted by Eugene Ormandy. From the very beginning of the concerto, Ginastera seems determined to take full advantage of the harp, and to surprise listeners with its possibilities. The finale begins with a terrific harp cadenza introduced by six notes that echo the tuning of a gaucho’s guitar. The harpist offers a soliloquy filled with dramatic chords, runs, and murmurs. Finally, after nearly four minutes alone, the harp sweeps into a full-orchestra Vivace, filled with tuneful urgency and the driving malambo rhythm of Argentinian folkdance. — Benjamin Pesetsky, used by permission Voices Shouting Out - The composer, educated at Oberlin Conservatory of Music, took her graduate degrees at Rutgers University. Brought up on Long Island as the daughter of an American mother and a Nigerian father, she is known for her compositions that reflect, not only subjects from the American Black experience, but also her African heritage, as well. She has taught in Nigeria and Ghana, and is interested in combining elements of non-Western and popular music styles with that of the Western “classical” tradition. Recent works have been inspired by iconic Black women in American history, Harriet Tubman and Phillis Wheatley. But, not to be pigeon-holed, she also is adept at composing in a wide variety of musical styles, and moreover, is a noted “soft sculpture” artist, widely recognized for her multi-cultural dolls. “Voices Shouting Out” is a response to the tragedy popularly known as 911, but unlike many artistic responses, it is not a solemn, and grieving exploration of that terrible event which changed forever American definitions of freedom and security. The composer relates that initially her intent was, indeed, to compose in grief, but she simply could not find the voice to do so. Rather, what ensued was a voice of affirmation, a reflection of a determination to move ahead in confidence and unity as a people. This is an artist’s statement of the necessity of national optimism in the midst of profound challenges. In her words, “It was a march to acknowledge those fighting on behalf of our safety, and yet a sparkling celebration of life for those who continue living.” “Voices Shouting Out” was begun on New Year’s Eve, 2001 and given its première in February 2202 by The Virginia Symphony. — © 2015 William E. Runyan Dvorák Symphony No. 8 in G Major, Op. 88 - By 1884, Antonín Dvorák was an internationally celebrated composer, renowned not only for his smaller works, but, following the success of his Symphony in d minor, as a symphonist as well. Upon returning home from another fruitful trip to England, his now solid financial position gave him the resources to realize one of his fondest dreams. He purchased Vysoká, a simple country home with a music room, surrounded by hills and forests where he wrote of experiencing peace and happiness. It was at this quiet retreat in the fall of 1889 that he composed his most Czech symphony, the Symphony No. 8 in G Major. Dvorák conducted the premiere in Prague on February 2, 1890. It is sometimes known as the "English Symphony," not because of any subject matter, influence or dedication, but because of a quarrel with his German publisher Simrock. Because the publisher only anticipated significant profit from the smaller works (such as the popular Slavonic Dances), Simrock was not interested in the composer’s large-scale efforts and offered Dvorák a mere pittance for the symphony. As a result, Dvorák broke his exclusive contract with Simrock and accepted a more appropriate offer from the English firm Novello. Contrasted with the cool treatment that the “Czech Nationalist” had received from the German/Austrian musical establishment, Dvorák was enormously popular in England and was granted an honorary doctorate by the University of Cambridge in June of 1891. Instead of presenting a thesis, he conducted performances of the G Major Symphony and his Stabat Mater at the ceremony. The composer conducted another notable early performance of the symphony for Czech Day at the 1893 Chicago World's Fair. Although sometimes overshadowed in popularity by the New World Symphony, this work, a walk through the Bohemian countryside, represents the best of optimistic late 19th century symphonic writing. The first movement begins with a solemn cello melody which makes way for the introduction of the main theme on the flute. The second movement, full of contentment, gives us a picture of village life, complete with the sounds of birds and a flowing mountain stream. The village band even makes an appearance. The third movement is not an energetic scherzo (or even a Czech Furiant) but a graceful waltz full of melodic charm. The sudden change to the rustic dance of the trio section (the tune borrowed from his opera The Stubborn Lovers) and the coda, driving to the end at double speed, recall the beloved Czech dance, the Dumka. A trumpet call introduces the fourth movement; variations on a stately march theme evoking rustic festivities bring the symphony to a rousing conclusion. — Linda Mack, Denver, CO, used by permission 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. Austin Soundwaves Chamber Ensemble Competitively selected by the Austin Soundwaves faculty, these students receive scholarship support from the ACO’s Pearl Amster Memorial Endowment Fund. Miranda Barajas‑Arellano, Double Bass — Senior, Founders Classical Academy of LeanderJordyn Broaders, Flute — Senior, Austin Achieve High SchoolAlfredo González Hernández, Violin — Junior, McCallum Fine Arts AcademyAndrew Salazar, Euphonium — Senior, Austin Achieve High SchoolAlexander Sutton, Clarinet/Bass Clarinet — Senior, St. Andrew’s Episcopal High SchoolThe ensemble was coached by Dr. Gabriela Mora‑Fallas, Austin Soundwaves Teaching Artist and Ensemble Specialist.Matthew Stiglich, Guest Conductor Matthew Stiglich is an accomplished conductor, music educator, and instrumentalist with more than two decades of experience leading instrumental and vocal ensembles in Texas and California. He currently teaches at Founders Classical Academy of Leander, where he directs the middle and high school orchestras and teaches music history and appreciation. His teaching career spans elementary through high school, including online instruction for grades 6–12, and he has built comprehensive band, orchestra, and choir programs featuring jazz band, marching band, chamber orchestra, and musical theatre. As a conductor, he has appeared with collegiate and community ensembles including CSU Fresno, Victor Valley College, Joshua Tree Symphony Orchestra, and Moreno Valley Winds. He holds a Master of Music in Music Education with a Conducting Emphasis from Colorado State University and a Bachelor of Arts in Music Education from California State University. A versatile bass trombonist and tubist, Stiglich has performed with orchestras, bands, musicals, jazz ensembles, an opera company, the Disney All‑American College Band, and alongside artists such as Rosemary Clooney, Marvin Hamlisch, and Jiggs Whigham. He remains active in the Austin music community through The Austin Brass Band, Cedar Park Winds, and various gigging groups, and continues to enrich the musical arts as a conductor, performer, and mentor. Adalia Stiglich, HarpAdalia Stiglich is currently an undergraduate sophomore at Indiana University Bloomington, pursuing a double major in Harp Performance and Molecular Life Sciences. She studies under Professor Elzbieta Szmyt and is a recipient of the prestigious Jacobs Scholarship. At IU, she performs regularly with several university ensembles, including the Wind Ensemble and the Harp Ensemble, and recently appeared with the Round Top Festival Orchestra during its 2025 season. Originally from Cedar Park, TX, Adalia was one of the only harpists to progress through the Leander Independent School District and built a distinguished musical foundation at Cedar Park High School, where she excelled in harp. Her accolades include selection to the TMEA All-State ensembles (2021–2024) and the Austin Music Club Maurer Award. Adalia aspires to a professional career performing with a major symphony orchestra. ACO Concert Roster Violin 1Carolyn Richards-Chacon, Concert MasterRaymundo Garcia, AssistantSamantha ChaviraRaymond D'AlessioErika ElderLaura JacobsVivian KwongLeianna PavonLynn PetroDawn SmithSol Swords Violin IIDario Landazuri, PrincipalKyle Bryson, AssistantDeb ByersFerris DuhonAndrew GoolsbeeAdam MontenegroEvan NaveKassandra Rocha VIOLAEugene Gott, PrincipalBrett Osburn, AssistantJustin AndersonDavid KaplanMark LegerJared LomanginoArt MonzingoDean RobertsWilliam SatterfieldAmanda TofflemireRonda von SehrwaldPaul Zagieboylo VIOLONCELLOJarrod Tuikka, PrincipalTani Barr, AssistantBen BachmeierBrigid DeverJacob LambertHenry NachmanApolinar RomeroIsabel TweraserJohn Whitney DOUBLE BASSJames Sproat, PrincipalGarrett JaynesLouis HandyAlana LopezNoah Miller FLUTEBrian Teran, PrincipalAnna CooganMarcia Gillespie-Norder, Piccolo OBOEMadeline Warner, PrincipalTrish Olives CLARINETYuHua Oliphint, PrincipalLaura GormanLuis Corpus, Bass Clarinet BASSOONAmy Crandell, PrincipalMelissa Vauk HORNChristine Simpson, PrincipalAlyssa CollinsKathy NolenDenise Stiglich TRUMPETJose Yznaga, PrincipalRandy HowardRick Kutcher TROMBONERoss Ganske, PrincipalJesse NolenChristian Lopez, Bass TUBAEthyn Evans PIANO/KEYBOARDLan-Thach Kratzke HARPAmy Frazier TIMPANIAlan Smith PERCUSSIONPaul Robertson, PrincipalMatt GarciaKyle GarzaJaxon JedelCollin Tracy About the Austin Soundwaves/ACO Collaboration Chamber Music Scholarship ProgramThis concert marks the second year of the Chamber Music Scholarship Program, a collaboration between the Austin Civic Orchestra and Austin Soundwaves. Austin Soundwaves serves nearly 2,000 young musicians across the greater Austin area each year through more than 40 school partnerships and community programs, providing access to high‑quality music education for learners of all ages, backgrounds, and experiences. The Chamber Music Scholarship Program offers post–high school financial assistance to current high school students through a scholarship held by the ACO and funded by the Austin Community Foundation. This year’s ensemble of five student musicians was selected by Austin Soundwaves staff through a competitive application and interview process. The group met monthly for rehearsals and received coaching from Dr. Gabriela Mora‑Fallas. Tonight’s performance represents the culmination of their work together, with additional public performance opportunities offered by Austin Soundwaves throughout the year. In addition to their ensemble participation, selected students were also invited to take part in Austin Soundwaves community programs. Family Connections in the ACO Family Connections in the ACO When the Austin Civic Orchestra opened its 2025–26 season, audiences witnessed the first part of a rare double debut. Bass trombonist Elizabeth Simpson performed on the Musical Tales concert on September 27, and during this Harmony for All concert, harpist Adalia Stiglich makes her solo debut with the ACO. Both young musicians perform alongside their mothers—sisters who play horn in the orchestra—creating a remarkable family connection seldom seen on the concert stage. Tonight’s performance adds yet another layer: Matthew Stiglich, Adalia’s father, conducts the work that features his daughter. Both Adalia and Elizabeth grew up in deeply musical households where rehearsals, performances, and instruments were part of everyday life, and where their mothers served as both role models and active partners in their musical journeys. Adalia & Denise Stiglich For Adalia Stiglich, the harp became a dream at age seven after she first saw the instrument in an orchestra concert. She laughs now about a stretch in middle school when she “hated the harp,” but credits her mother, Denise, for encouraging her to persevere and for modeling the balance of hard work and humility that defines her approach today. This season, Adalia showcases the harp’s brilliance and expressive range in the third movement of Ginastera’s Harp Concerto on Saturday, February 7. As with her cousin Elizabeth’s debut, Adalia’s mother and aunt will be performing in the horn section during her appearance. A member of the ACO horn section since 2018, Denise has supported every step of Adalia’s musical growth—from outgrowing her first harp in just two years, to earning TMEA All-State honors four years running, to competing on both harp and euphonium, and now pursuing a Music Performance degree at Indiana University. Denise reflects on the experience of sharing the stage with her daughter:“It’s not just about making music, but about deepening our bond in a really special way.” She admires Adalia’s drive, resilience, and “nerves of steel.” Adalia, in turn, speaks with deep admiration for her mother:“I don’t think I know anybody who works harder than her… she’s such an amazing role model, you have no choice but to try and follow her.” Their family music-making often turns into joyful chaos—brass ensemble rehearsals during the holidays, harp‑and‑horn duets that spark laughter, and shared performances at church and community events. Civic Organizations & Families Stories like these highlight why civic ensembles such as the ACO matter so deeply. These orchestras create intergenerational spaces where professional musicians, students, educators, and passionate amateurs share the stage. For families, they become more than rehearsal schedules and concert dates—they are places where parents model dedication and artistry, and where children grow into confident musicians alongside the very people who inspired them. In the Simpson and Stiglich families, music is a thread connecting children, parents, and grandparents—including Elizabeth and Adalia’s 95‑year‑old great‑grandmother, who they hope will attend. Civic performance groups help sustain that thread by offering high‑level musical opportunities at every stage of life and by giving audiences the chance to witness the joy, commitment, and lifelong pursuit of making music together.

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 and and an award from the National Endowment for the Arts.

Parts of the Whole Concert and Food Drive
2026-02-14 19:30 - 21:00 | Abiding Love Lutheran Church, 7210 Brush Country Rd, Austin, TX, 78749, United States
FREE TICKETS

Parts of the Whole – Annual Chamber Concert
February 14, 2026 • 7:30 PM
Abiding Love Lutheran Church • 7210 Brush Country Rd, Austin
Join us for the Austin Civic Orchestra’s annual Parts of the Whole chamber concert, an intimate evening featuring small ensembles made up of ACO musicians and friends. This special tradition – this year on Valentine’s Day – highlights the artistry, collaboration, and musical curiosity that thrive within our orchestra.
A Concert With a Cause
This year’s event is free to attend, and we invite audience members to participate in a food drive supporting the Abiding Love Food Pantry. The pantry is open just one day a week yet serves over 700 individuals weekly. Your donations help local families stretch their food supplies through the end of the month when resources are tight. Every contribution makes a meaningful difference. Here is a list of preferred food items.
Event Details

Date: Saturday, February 14, 2026
Time: 7:30 PM
Location: Abiding Love Lutheran Church
7210 Brush Country Rd, Austin, TX
Tickets: Admission is free, but we encourage all attendees to reserve a ticket.
Reserve your free ticket:

FREE TICKETS
Come enjoy beautiful chamber music while supporting a vital community resource. We look forward to sharing this evening with you.
Program

Concert Piece No. 2 for two clarinets and piano by Felix Mendelsohn
Trio #2 for Flute, Oboe and Bassoon, Allegro affetuoso by Guiseppe Maria Cambini
Swallowtail Jig and Chicken Reel for Woodwind Trio
Scherzo from A Midsummer Night’s Dream, Op. 61 by Felix Mendelssohn for Piano Four Hands
Quartett in D Major for solo Double Bass, Flute, Viola and Cello, Andante grazioso by J.M. Sperger
Romanza Andaluza, Op. 22 No. 1 by Pablo de Sarasate for Violin and Piano
Légende Op.17 for Violin and Piano by Henryk Wieniawski
Salut d’Amour by Edward Elgar for Violin and Piano
Suite for Woodwind Quintet by Robert Washburn
Trois Pièces brèves for Woodwind Quintet by Jacques Ibert

Use CapMetro Bus #333 for public transportation.

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We keep costs low, so that more can enjoy the concert.
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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.

This event was made possible, in part, through the support of Associated Chamber Music Players (www.acmp.net). The mission of ACMP is to stimulate and expand the playing of chamber music for pleasure among musicians worldwide, of all backgrounds, ages and skill levels, by connecting people and supporting chamber music activities for individuals, groups and institutions.
Join ACMP – Membership is FREE!

Texas Rising Stars
2026-03-28 19:30 - 21:00 | Bates Recital Hall, 2406 Robert Dedman Drive, Austin, TX, 78712, United States
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(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!

💛 Support the ACO
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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 N RR 620, Austin, TX, 78726, United States
TICKETS
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 to 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

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 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
2026-06-05 20:30 - 2026-06-06 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 5 and 6
Time: 8:30 PM
Location: Zilker Park Hillside Theater
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.
