- Admission to San Antonio Symphony’s “West Side Story” or commemorative poster
- When: November 14–16
- Where: Tobin Center for the Performing Arts
- Door time: one hour before showtime
- Full offer value includes ticketing fees
- $15 for balcony seating at “West Side Story” (up to $51 value)
- $20–$35 for mezzanine seating at “West Side Story” (price varies by date; up to $82.50 value)
- $30–$45 for orchestra seating at “West Side Story” (price varies by date; up to $93.50 value)
- $10 for a San Antonio Symphony 75th Year commemorative poster (does not include a ticket to a performance; up to $20 value)
- Click here to view the seating chart
Internationally renowned cellist Julie Albers joins the San Antonio Symphony for a concert that begins with a mysterious world premiere and concludes with a familiar American classic.
- Miller—Scherzo Crypto: Commissioned by the San Antonio Symphony, this new work draws its name from a central mystery—encoded in the music is the name of an instrument.
- Antheil—Over the Plains: The self-styled “Bad Boy of Music” was a fixture on the Parisian modernist scene, rubbing elbows with the likes of James Joyce, Ezra Pound, and Ernest Hemingway.
- Weinberger—Prelude and Fugue on a Southern Folk Tune: The Czech-born composer fled to New York City when the specter of fascism rose in Europe, and took to his new homeland by penning quintessentially American pieces.
- Barber—Cello Concerto: According to cellist Zara Nelsova, the beauty of this richly textured, carefully balanced work so overwhelmed a fellow cellist that he smashed his instrument in happy protest.
- Ives—Thanksgiving and Forefathers Day: Something ominous lurks in the fourth movement of Ives’ Holiday Symphony, as the orchestra splits into two parts to play in opposing keys.
- Bernstein—Symphonic Dances from West Side Story: Bernstein re-imagines his iconic theatrical score, rich with influences as diverse as jazz, classic showtunes, and the mambo, for symphonic orchestras.
San Antonio Symphony
Although symphonic concerts could be heard in San Antonio all the way back in the 1880s, the formation of the San Antonio Symphony—the city's first formal orchestra—didn't happen until 1939. It was then that Max Reiter, a native of Italy, was forced from his career and home by a freshly established anti-Semitic policy. Reiter boarded a ship for New York, found the city teeming with exiled musicians like himself, and therefore purchased a train ticket to the South. There, San Antonio's leaders invited Reiter to conduct a demonstration concert for a crowd of 2,500. The success of that initial impression led to the formal founding of the Symphony and an inaugural concert just five months later. Today, Sebastian Lang-Lessing stands where Reiter once stood, leading a full ensemble of 75 musicians with a baton hand honed across the globe.