St. Louis Symphony Broadcast Program, April 27, 2013

7/30/2019 St. Louis Symphony Broadcast Program, April 27, 2013

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CONCERT PROGRAMApril 26-27, 2013

Bernard Labadie, conductorScott Andrews, clarinet

MOZART Symphony No. 33 in B-fat major, K. 319 (1779) (1756-1791)Allegro assaiAndante moderatoMenuettoAllegro assai

MOZART Clarinet Concerto in A major, K. 622 (1791)

AllegroAdagioRondo: Allegro

Scott Andrews, clarinet

INTERMISSION

MOZART Symphony No. 40 in G minor, K. 550 (1788)

Molto allegroAndanteMenuetto: AllegrettoAllegro assai


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ACKNOWLEDGMENTS

Bernard Labadie is the Monsanto Guest Artist.

Scott Andrews is the Sid and Jean Grossman Guest Artist.

The concert of Friday, April 26, 10:30am, is underwritten in part by a generousgift from Mr. and Mrs. Benjamin W. Durham, Jr.

The concert of Friday, April 26, 8pm, is underwritten in part by a generous giftfrom Dr. Mabel L. Purkerson.

The concert of Friday, April 26, 8pm, is underwritten in part by a generous gift

from Mr. and Mrs. James L. Nouss, Jr.

The concert of Saturday, April 27, is underwritten in part by a generous gift fromPaul and Linda Lee.

Pre-Concert Conversations are presented by Washington University Physicians.

These concerts are presented by the Thomas A. Kooyumjian Family Foundation.

These concerts are part of the Wells Fargo Advisors Series.

Large print program notes are available through the generosity of MosbyBuilding Arts and are located at the Customer Service table in the foyer.


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FROM THE STAGEThomas Jstlein, associate principal horn, on Bernard Labadie and Mozart: Im so

thrilled that the Symphony recognizes certain conductors that have an afnitywith Mozarts music. With Bernard Labadie there is a sense of discovery, afreshness of exploration, a kind of childlike expectancy to the music.

For me, playing Mozart is akin to playing jazzopen to improvisationin terms of colors, and in terms of phrasing, especially in relationship todifferent sections of the orchestra. Labadie gives license to musiciansimprovisations of color. He does not impose his will. He wants us to havethis open sense of wonder, of exploration.

Bernard Labadie


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TIMELINKS

1779MOZARTSymphony No. 33 inB-fat major, K. 319Luddite riots begin in

Manchester, Englandin protest o increasedindustrialization o labor

1788MOZARTSymphony No. 40 inG minor, K. 550Troops called out toquell ood riots in Paris

1791MOZARTClarinet Concerto inA major, K. 622French royal amilyarrested by revolutionaryorces

This weeks concerts by the St. Louis Symphony

are devoted entirely to the music of WolfgangAmadeus Mozart. None of the extrinsic reasonsthat often are used to justify such programspertain in this case. Mozarts birthday passed byin January. There is no popular drama or lm,likeAmadeus, offering a convenient tie-in. 2013is not a major anniversary year, as were 2006(the composers 250th birthday) and 1991 (thebicentenary of his death).

Yet, and at the risk of stating the obvious,such supercial excuses for performing Mozartsmusic are hardly necessary. The intrinsic virtuesof his compositions are more than enoughto command our attention. Those virtues aremostly self-evident and have been often noted:formal elegance, supremely graceful melodiclines, endlessly ingenious invention within

a well-established harmonic vocabulary andcompositional genres.But as the pieces we hear now remind us,

perhaps the most extraordinary thing aboutMozarts music is the seeming paradox of itsineffable sweetness and its profundity. Hardlyany music falls so pleasingly on the ear as doesMozarts. At the same time, his greatest worksintimate deep truths about human existenceour

experience of both joy and sorrow, our strugglesand moments of spiritual serenity. In view of this,the wonder is not that we continue to performand hear Mozarts music as much as we do, butthat we might ever imagine going long without it.

SWEETNESS AND PROFUNDITYBY PAUL SCHIAVO


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WOLFGANG AMADEUS MOZARTSymphony No. 33 in B-fat major, K. 319

MOZARTS PASTORAL SYMPHONY Theautograph score of Mozarts Symphony in B-at

major, K. 319, bears an inscription stating thatit was composed in Salzburg in July 1779. Weknow nothing else of the origin of this workunder what circumstances or for what occasionit might have been writtenexcept that it initiallyhad only three movements. The composeradded the minuet some years later, probablyin 1785. It would be difcult to imagine asymphonic composition of more uniformlybright countenance. Georges de Saint-Foix, thepioneering scholar of Mozarts symphonies,must have had the works cheerful aspect inmind when he suggested that one could almostdescribe it as [Mozarts] Pastoral Symphony.Certainly this music gives practically no hint ofthe tragic current in Mozarts art, a strain we willencounter during the second half of our concert.

Mozart establishes the prevailing tone of thesymphony at the outset. The rst movementstriple-pulse meter and buoyant melodies imparta carefree, almost insouciant air. Mozart musthave been in high spirits as he wrote it. Thedevelopment passage that forms the movementscentral paragraph does not, in fact, develop thematerials already set forth. Rather, it introducesnew thematic ideas, one of which will be instantly

familiar to listeners acquainted with Mozartsmature symphonic output; for the second phraseof this section introduces the Jupiter motif,the four-note gure that Mozart would treat sobrilliantly, and at far greater length, in the naleof his last symphony.

Mozart bases the second movement on a pair of contrasting themes.The rst proceeds leisurely and is broadly harmonized, whereas the second,

beginning in the minor mode, has about it a rather operatic character.There follows the minuet, the movement that Mozart interpolated into thesymphonys original design.

The nale gives us Mozart at his most lively, each of the three themesannounced during its initial section contributing to a general feeling of gaiety.The rst subject juxtaposes bustling repeated-note gures and a skippingmelody. The second, marked by its laughing grace notes, is very much inthe spirit of comic opera, whereas the third, begun by the oboes, suggests ahumorous rusticity.

BornJanuary 27, 1756, Salzburg

DiedDecember 5, 1791, Vienna

First PerormanceUnknown, though it probablyoccurred in Mozarts nativecity, Salzburg, in 1779

STL Symphony PremiereNovember 7, 1969, JerzySemkow conducting

Most Recent STL SymphonyPerormanceOctober 6, 2007, NicholasMcGegan conducting

Scoring2 oboes2 bassoons2 hornsstrings

Perormance Timeapproximately 20 minutes


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WOLFGANG AMADEUS MOZARTClarinet Concerto in A major, K. 622

LORDLY SOUNDS Mozart had a deep affection forthe sound of the clarinet. In 1778, while visiting

the city of Mannheim, which had perhaps thenest orchestra in Europe, he wrote to his fatherback in Salzburg: Oh, if only we had clarinets. Youcant guess the lordly effect of a symphony with ...clarinets. As the frustrated tone of this passagesuggests, clarinets still were not widely available,and it was some time before the composer couldbegin creating such lordly effects himself.Apart from the exceptional Paris Symphony,K. 297, clarinets rst appeared in his orchestralwriting in 1783, with the revised scoring of theHaffner Symphony, K. 385, and reappeared inthe Masonic Funeral Music, K. 477, and the PianoConcerto in E-at, K. 482, composed two yearslater. Thereafter, they formed a regular, if notinevitable, part of his orchestra.

Mozart did not limit his use of the clarinet

to orchestral duties, however. After 1785, hebegan to explore the instruments potentialfor assuming a more featured role in worksranging from chamber pieces to prominentaccompaniment parts in opera arias. This moreextensive exploration of the clarinets capabilitiesculminated in a concerto for the instrument,K. 622, completed only weeks before thecomposers death. It was the last concerto of any

kind Mozart composed, and it differs noticeablyfrom his earlier works of this sort. Instead of theextroverted tone and delight in virtuosity thatmark his violin and piano concertos, Mozarthere gives us music of grace, tenderness, andintimacy. Some commentators have also detectedan autumnal sadness beneath its bright surface,particularly in the central slow movement.

MUSIC FOR A FRIEND Mozart created theClarinet Concerto for his friend and Masonicbrother Anton Stadler. Stadler apparently was asuperb clarinetist, for Mozart wrote for him notonly the present concerto but also the ClarinetQuintet, K. 581, and perhaps the Clarinet Trio,K. 498. Moreover, Stadler was active in thetechnical development of the clarinet, which

First PerormanceOctober 16, 1791, in Prague,

Anton Stadler was theclarinet soloist

STL Symphony PremiereDecember 11, 1970, GeorgeSiles was soloist, withWalter Susskind conducting

Most Recent STL SymphonyPerormanceApril 23, 2006, Diana Haskellwas soloist, with ScottParkman conducting, atthe Leach Theatre in Rolla,Missouri

Scoringsolo clarinet2 futes2 bassoons2 hornsstrings



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was in his day a fairly new instrument. Among other things, he had built anexperimental clarinet with an extended range somewhat below that of thestandard instrument, and it was for this that Mozart composed his concerto.But because Stadlers altered instrument never came into widespread use, themusic was printed in a revised version that accommodates the slightly smaller

range of the standard clarinet.The work unfolds in Mozarts standard concerto format of three

movements. The music requires little comment. The opening Allegro seemsmore relaxed than the tempo indication usually implies, with music impressivefor its eloquence rather than its athleticism. The central slow movement isexceptional in its quiet ardor, whereas the concluding rondo proves spiritedbut not unduly exuberant.

WOLFGANG AMADEUS MOZARTSymphony No. 40 in G minor, K. 550

A MOZARTIAN MYSTERY In the summer of 1788,during the course of about six weeks, WolfgangAmadeus Mozart completed three extraordinarysymphonies. Nothing in the composersbiography has provoked more speculation and

debate than the origin of this late symphonictrilogy. It was unusual for Mozart to createsubstantial works such as these three ambitiousand beautifully wrought symphonies withouthaving a certain, or at least probable, opportunityfor their performance, but no such justicationwas discovered by his early biographers. Theunexplained appearance of what proved to bethe composers nal symphonies consequentlyengendered a notion that he never heard thesepieces, and perhaps he wrote them not for aspecic occasion but out of some personal artisticneed. This view was famously articulated byAlfred Einstein, the romantically inclined Mozartscholar, who proposed a desire by the composerto give free rein to his creative powers and makean appeal to eternity at a time when his worldly

fortunes were in decline.Poetic as that idea may be, it runs counterto everything we know of Mozarts consistentlypractical approach to his profession. Modernscholars have therefore proposed severalpossibilities for explaining the composition ofthese three late symphonies. Unfortunately,their hypotheses, compelling though theymay be, remain unproven for lack of denitive

First PerormanceIt is not known when orwhere this symphony wasrst heard, or whether aperormance took placeduring Mozarts lietime.

STL Symphony PremiereJanuary 16, 1908, Max Zachconducting

Most Recent STL SymphonyPerormanceMarch 7, 2009, DavidRobertson conducting

Scoringfute2 oboes2 clarinets2 bassoons2 hornsstrings


Doris

stock


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documentary evidence, and the mystery of the composers last threesymphonies remains just that. Despite the best efforts of Mozarts biographersand other investigators, we simply do not know what prompted theconcentrated outpouring of symphonic music that occupied the composerduring the summer of 1788.

A FUSION OF OPPOSITES The Symphony in G minor, K. 550, forms thecenterpiece of the nal trilogy. This work, which we hear now, revealsperhaps more of Mozarts essential nature than its bright major-key siblings,the Symphonies Nos. 39 and 41. Here we encounter the remarkable fusion ofoppositesof passion and formal elegance, sorrow and exultation, darknessand lightwhich informs the composers greatest music and seems toreect something of his character. It is interesting in this regard how various

commentators have emphasized one or the other of these contrasting aspectswhen considering the work. For example, Robert Schumanns often-quoteddescription of the G-minor Symphony as lled with Grecian lightness andgrace is countered by Otto Jahn, the great Mozart biographer of the 19thcentury, who declared it a work of pain and grieving. The varied perspectivesof these and other summaries illustrate the psychological complexity ofMozarts nest music and the exceptionally wide emotional range thissymphony encompasses during the course of its four movements.

Nevertheless, a sense of agitation does seem to pervade much of the piece.

Mozart establishes this quality in the opening measures. Here he dispenseswith the type of formal introduction in slow tempo that he had used in eachof his previous three symphonies. Instead, the composer begins straight offwith an energetic Allegro and a famous theme that seems to suggest yearningand agitation. In developing this and the movements other subjects, Mozartemploys his very considerable mastery of counterpoint, and his brilliant useof fugal echoes here, and in his other late symphonies, must be counted one ofhis greatest achievements.

The initial theme of the Andante promises a movement of the seeminglyeffortless grace so frequently encountered in Mozarts music. The composerfullls this promise but offers much more: a dark lyricism that suggests,if not sorrow, at least acquaintance with loss and heartache. The ensuingminuet is surprising in its power, which derives in no small degree from thestretto treatment, the contrapuntal piling up, of the minuet theme in itssecond paragraph.

The nale recalls the symphonys opening in terms of both its sheerdramatic intensity and its use of pointed harmonic inections to maintain

a sense of restless urgency. The movements central development sectioncommences with an extraordinary passage. Here, a statement of the maintheme dissolves into a halting, angular utterance that steps, for a few tensemoments, almost beyond any traditional sense of harmonic coherence.Although contrapuntal treatment of this subject again plays an important rolein shaping the movement, the nal impression we have is not one of learnedcompositional artice but of passions barely contained.

Program notes 2013 by Paul Schiavo


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BERNARD LABADIEMONSANTO GUEST ARTIST

Bernard Labadie has established himselfworldwide as one of the leading conductors of

the Baroque and Classical repertoire, a reputationthat is closely tied with Les Violons du Roy andLa Chapelle de Qubec, which he founded andcontinues to lead as music director to this day.With these two ensembles he regularly toursCanada, the U.S., and Europe, in major venuesand festivals such as Carnegie Hall (mostrecently in March 2012) and Lincoln Center, WaltDisney Concert Hall, Kennedy Center, Barbican,Concertgebouw, and the Salzburg Festival,among others.

Ever since his triumphant debut with theMinnesota Orchestra in 1999, Labadie hasbecome a regular presence on the podiums ofthe major North American orchestras, includingthe New York and Los Angeles Philharmonics,Philadelphia Orchestra, the symphony

orchestras of Chicago, Boston, San Francisco,Houston, Atlanta, Detroit, Montreal, Toronto,and Vancouver, most of them on a regular basis.His debut with the Cleveland Orchestra occurredin early 2010.

Testament to Labadies appeal withaudiences around the world is the long list ofre-engagements during the 2012-13 season.In the U.S., his itinerary takes him to the New

York Philharmonic, San Francisco Symphony,Toronto Symphony, and Handel & HaydnSociety. Overseas he goes on his third Australianjourney to conduct the Melbourne Symphonyand leads various European orchestras suchas the Academy of Ancient Music, WDRSinfonieorchester in Cologne, HamburgerSymphoniker, Northern Sinfonia, BBC Scottish

Symphony, Swedish Chamber Orchestra, and theBrussels Philharmonic.For his achievements, the Canadian

government honored him with the appointmentas Ofcer of the Order of Canada in 2005and Quebec made him a Chevalier de lOrdreNational du Qubec in 2006.

Bernard Labadie mostrecently conducted the

St. Louis Symphony inFebruary 2011.

Francois

rivarD


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SCOTT ANDREWSSID AND JEAN GROSSMAN GUEST ARTIST

Praised as elegant in the Boston Globe andextraordinary by the New York Times, Scott

Andrews has been critically acclaimed in soloand chamber music performances across thecountry. A sought-after collaborative musician,Andrews has performed with many of todaysleading artists, and as an avid proponent of newmusic, he has performed with organizations suchas Composers in Red Sneakers, the Auros Groupfor New Music and Boston Musica Viva. He hastoured and performed with such ensembles asthe Ying String Quartet, the Calyx Piano Trio,and the Boston Symphony Chamber Players,among many others. Andrews has been PrincipalClarinet of the St. Louis Symphony since 2005.Before joining the STL Symphony, Andrewshad been a member of the Boston SymphonyOrchestra for 11 years. He has also performedin the U.S. with the Philadelphia Orchestra, and

with the Saito Kinen Orchestra and the MitoChamber Orchestra in Japan.Andrews has lectured and given classes

throughout the United States as well as in Europeand Japan. He was for many years the WoodwindDepartment Chair at Boston Conservatory and afaculty member of the Tanglewood Music Centerin Lenox, Massachusetts. June 2013 markshis third season as co-Director of the Missouri

Chamber Music Festival, an annual collaborativefestival in Webster Groves, Missouri, which hefounded with his wife, pianist Nina Ferrigno. Hewill join the faculty of the Pacic Music Festival inSapporo, Japan, in July 2013.

Originally from Virginia, Andrews studiedpiano and violin before discovering the clarinet,studying with Edward Knakal of Virginia Beach.

He attended the Virginia Governors Schoolfor the Arts and also studied at the InterlochenMusic Center in Michigan. He graduated withdistinction from the New England Conservatoryof Music where he was a clarinet student ofHarold Wright.

Scott Andrews mostrecently perormed as a

soloist with the St. LouisSymphony in October 2010.

DanD

reyFus


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A BRIEF EXPLANATIONYou dont need to know what andante means or what a glockenspiel is toenjoy a St. Louis Symphony concert, but its fun to know stuff. For instance,

what is a K number?

K: In the listing of any work by Mozart, you see its identifying K number.Symphony No. 33 is K. 319. The Clarinet Concerto is K. 622. SymphonyNo. 40 is K. 550. Mozart wrote an incredible amount of music during hisbrief life, and he had neither the time nor the inclination to sort it all out.Hooray for the Austrian music historian Ludwig Kchel, who set to workand created the thematic catalogue of Mozarts works, which were rstpublished in Leipzig in 1862.

MOZARTS HORNS

Associate Principal Horn Thomas Jstlein explains that in Mozarts day, He

wrote for natural horns, which means they could not be played chromatically.Mozart was aware of what the horn could do, so his horn writing alternatesbetween horn call and wind instrument. Horn players need to wear differenthats when playing Mozart. We may play fanfares, or we may be used more asa lyrical woodwind.

A valveless horn rom Mozarts era


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YOU TAKE IT FROM HEREIf these concerts have inspired you to learn more, here are suggested sourcematerials with which to continue your explorations.

William Cowdery and Neal Zaslaw,editors, The Compleat Mozart: A Guideto the Musical Works of WolfgangAmadeus MozartW. W. NortonBrief background and commentaryon each of Mozarts more than 600compositions

H. C. Robbins Landon,MozartsLast YearSchirmer BooksA fascinating examination of Mozartscircumstances and activities during1791 (the year he composed hisClarinet Concerto), by one of todays

foremost Mozart authoritiesmozartorum.comA website devoted to Mozart and hismusic, including a concise biography,complete works list, sound clips, linksand more

Read the program notes online atstlsymphony.org/planyourvisit/programnotes

Keep up with the backstage life of the St. Louis Symphony, as chronicled bySymphony staffer Eddie Silva, via stlsymphony.org/blog

The St. Louis Symphony is on


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CORPORATE DONOR SPOTLIGHTBROWN SHOE COMPANY

Brown Shoe Company is a $2.6 billion, global footwear company whose shoes

are worn by people of all ages, from all walks of life. Through our broad range ofproducts, we serve three key markets. Our Family brandsFamous Footwear,Famous.com, and shoes.comare one-stop-shopping destinations for highquality, affordable styles for a familys every occasion. Active people whowant comfort, style and performance can look to our Healthy Living brandsNaturalizer, Dr. Scholls Shoes, LifeStride, Avia, and Ryka. Our ContemporaryFashion brandsVia Spiga, Vera Wang, Vince, Sam Edelman, Franco Sarto,Carlos, and Fergiekeep fashionistas in step with the latest trends. At BrownShoe Company, we inspire people to feel good and live better... feet rst!

Brown Shoe has recently gone through a restructuring o its giving policypleasedescribe what came out o this process.Were very proud to have been a part of the fabric of St. Louis for nearly 135years, and our charitable giving is an important aspect of our relationship withthe community. Our new charitable trust mission is to support organizations,which are either strategically aligned with our corporate mission, vision, andvalues, or are focused on advancing the footwear industry, or benet the overall

St. Louis community in growing and attracting new businesses and residents.Our corporate mission is to feel good and live better... feet rst! Feeling goodmeans helping to develop stronger families by providing opportunities forenrichment. Living better encourages individuals to live better lives throughhealth and wellness efforts. Feet rst means we look to provide occasions forfamilies and individuals to step feet rst into the arts and cultural opportunities.

Why does Brown Shoe support the St. Louis Symphony?Brown Shoe Company has been sponsoring the Symphony since 1960. Over

that time, we have donated nearly $1.9 million to make music more accessibleto the residents of our community.

How does the Symphony ft into your overall charitable giving program inSt. Louis?We hope residents of and visitors to St. Louis appreciate the opportunity tostep feet rst into all of the programs the Symphony has to offer.

Why should other organizations support the St. Louis Symphony?Companies across St. Louis should work together to benet the communityin growing and attracting new businesses and residents. Having a world-classsymphony is just one of the ways to help make St. Louis all within reach!


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CLASSICAL CONCERT:CHRISTINE BREWER RETURNS

MAY 3-5David Robertson, conductor; Christine Brewer, soprano; Lucas Meachem, baritone

Full of exotic themes, heartfelt yearning, and wild freedom, ZemlinskysLyric Symphony receives its STL Symphony premiere with phenomenalsoprano Christine Brewer. Paired with the stunning melodies and warmingglow of Schuberts Unnished Symphony. Another weekend in Vienna atPowell Hall.

Presented by Mary Pillsbury

christians

teiner


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AUDIENCE INFORMATION

BOX OFFICE HOURS

Monday-Saturday, 10am-6pm; Weekdayand Saturday concert evenings through

intermission; Sunday concert days12:30pm through intermission.

TO PURCHASE TICKETS

Box Ofce: 314-534-1700Toll Free: 1-800-232-1880Online: stlsymphony.org

Fax: 314-286-4111A service charge is added to alltelephone and online orders.

SEASON TICKET EXCHANGE POLICIES

If you cant use your season tickets,simply exchange them for another

Wells Fargo Advisors subscriptionconcert up to one hour prior to yourconcert date. To exchange your tickets,please call the Box Ofce at 314-534-1700 and be sure to have your tickets

with you when calling.

GROUP AND DISCOUNT TICKETS

314-286-4155 or 1-800-232-1880 Anygroup of 20 is eligible for a discount ontickets for select Orchestral, Holiday,or Live at Powell Hall concerts. Callfor pricing.

Special discount ticket programs areavailable for students, seniors, andpolice and public-safety employees.

Visit stlsymphony.org for moreinformation.

POLICIES

You may store your personalbelongings in lockers located on the

Orchestra and Grand Tier Levels at acost of 25 cents.

Infrared listening headsets are availableat Customer Service.

Cameras and recording devices aredistracting for the performers andaudience members. Audio and videorecording and photography are strictly

prohibited during the concert. Patronsare welcome to take photos before theconcert, during intermission, and afterthe concert.

Please turn off all watch alarms, cellphones, pagers, and other electronicdevices before the start of the concert.

All those arriving after the start of the

concert will be seated at the discretionof the House Manager.

Age for admission to STL Symphonyand Live at Powell Hall concerts

vary, however, for most events therecommended age is ve or older. Allpatrons, regardless of age, must havetheir own tickets and be seated for all

concerts. All children must be seatedwith an adult. Admission to concerts isat the discretion of the House Manager.

Outside food and drink are notpermitted in Powell Hall. No food ordrink is allowed inside the auditorium,except for select concerts.

Powell Hall is not responsible for

the loss or theft of personal property.To inquire about lost items, call314-286-4166.

POWELL HALL RENTALS

Select elegant Powell Hall for your nextspecial occasion.

Visit stlsymphony.org/rentalsfor more information.


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BOUTIQUE

WHEELCHAIR LIFT

BALCONY LEVEL(TERRACE CIRCLE, GRAND CIRCLE)

GRAND TIER LEVEL

(DRESS CIRCLE, DRESS CIRCLE BOXES,GRAND TIER BOXES & LOGE)

MET BAR

TAXI PICK UPDELMAR

ORCHESTRA LEVEL(PARQUET, ORCHESTRA RIGHT & LEFT)

WIGHTMAN

GRAND

FOYERTICKET LOBBY

CUSTOMER

SERVICE

LOCKERS

WOMENS RESTROOM

MENS RESTROOM

ELEVATOR

BAR SERVICES

HANDICAPPED-ACCESSIBLE

FAMILY RESTROOM

POWELL HALL

Documents

St. Louis Symphony Broadcast Program, April 27, 2013