St. Louis Symphony Program - March 9, 2013

7/29/2019 St. Louis Symphony Program - March 9, 2013

1/16

23

CONCERT PROGRAMMarch 8-9, 2013

David Robertson, conductorJames Ehnes, violin

BRAHMS Variations on a Theme o Joseph Haydn, op. 56a (1873)(1833-1897)

BERG Violin Concerto (1935)(1885-1935)

Andante; AllegrettoAllegro; Adagio

James Ehnes, violin

INTERMISSION

BEETHOVEN Symphony No. 2 in D major, op. 36 (1801-02)(1770-1827)

Adagio molto; Allegro con brioLarghettoScherzo: Allegro

Allegro molto

David Robertson is the Beofor Music Director and Conductor.James Ehnes is the Graybar Electric Company, Inc. Guest Artist.

The concert of Friday, March 8, is underwritten in part by a generous gift fromMr. H. Chandler Taylor.

The concert of Saturday, March 9, is underwritten in part by a generous gift fromMr. and Ms. George Paz.

These concerts are presented by The Thomas A. Kooyumjian Family Foundation.Pre-Concert Conversations are presented by Washington University Physicians.These concerts are part of the Wells Fargo Advisors Series.Large print program notes are available through the generosity of Mosby Building

Arts and are located at the Customer Service table in the foyer.


2/16

24

TIMELINKS

1801-02BEETHOVENSymphony No. 2 in Dmajor, op. 36Napoleon sells Louisiana

Territory to the UnitedStates to help nance hisEuropean conquests

1873BRAHMSVariations on a Theme oJoseph Haydn, op. 56aCity o Budapest ormedrom two rival cities

1935BERGViolin ConcertoHitler announces Germanrearmament in violation oVersailles Treaty

For the current concert season, the St. Louis

Symphony has programmed a series of concertsdevoted to music by composers who lived andworked in Vienna. Most of these concerts havejuxtaposed two distinct yet complimentarytraditions that comprise the musical life of thatvery musical city: on one hand, masterworkswritten by some of the great composers whoresided in Vienna; on the other, examples ofthe lighter style of composition that ourished

in the Austrian capital for more than a century.This weekends concert, however, is devotedsolely to the former, more substantial, typeof musicin this case written by three of theoutstanding composers who called the city onthe Danube home.

Actually, four composers fashioned theworks we hear, considering the provenance

of the rst piece we hear. As its title indicates,Johannes Brahmss Variations on a Theme ofJoseph Haydn presents a succession of ingenioustransformations of a modest melody originallywritten by another musician who spent most ofhis life in Vienna, Franz Joseph Haydn. Themeand variation is a venerable compositionalformat, and Brahms used it superbly in a numberof his compositions. His Haydn Variations is

the most famous of them.The two other works we hear represent very

different responses to personal tragedy. AlbanBerg wrote his Violin Concerto as a memorial to ayoung woman of his acquaintance who died wellbefore her time. It is not a dark, brooding piecebut, rather, one that conveys deep poignancy andaffection. Ludwig van Beethoven composed hisSymphony No. 2 during a period of deep despairover his growing deafness. Was it to achieve somekind of emotional equilibrium that he wrote oneof his most sunny creations?

VIENNESE MASTERSBY PAUL SCHIAVO


3/16

25

JOHANNES BRAHMSVariations on a Theme o Joseph Haydn, op. 56a

REVERENCE FOR THE PAST Johannes Brahms mighthave become an outstanding music historian.

He collected a large library of manuscriptsand printed scores from all periods and was aserious student of compositional practice fromthe Renaissance until his own time. Among hisfriends were a number of musicologists, and hewas keenly attentive to their work. But Brahmswas a composer rst and foremost, and hisinterest in the music of earlier eras had its mostsignicant results in his own work. It particularlyaffected his choice of forms. He was one of the fewmusicians of his day with a practical knowledgeof such venerable procedures as passacagliaand variation set, and he never questioned thatthese could still be vehicles for original andcontemporary musical invention.

Nowhere did Brahms demonstrate thatconviction more convincingly than in the

Variations on a Theme of Joseph Haydn, writtenin 1873. Brahms initially composed this work fortwo pianos, but he must have sensed immediatelyits potential for larger instrumental forces, for thetwo-piano score was scarcely nished when hecommenced an orchestration of it.

VARIATIONS AND PASSACAGLIA The subjectof these remarkable Variations is a modest

theme known as St. Anthonys Chorale, whichBrahms found in a wind-band partita attributedto Haydn. Brahms presents this melody intimbres that suggest its source, assigning it to theorchestral woodwinds in the opening section ofthe piece. Each of the eight variations that followpreserves the harmonic outline of the theme butoffers entirely new elements of rhythm, melodic

contour, texture, and instrumental color. Thenale is not properly a variation of the theme,since it does not follow the phrases of theoriginal melody. It is, rather, a passacaglia, a self-contained set of variations over a recurring ve-measure gure heard at theoutset in the basses and cellos. Over and around this gure Brahms spins asuccession of counter-melodies. When, at the movements climax, the humblechorale melody emerges from the general texture, it has been transformed tosomething unexpectedly glorious.

BornMay 7, 1833, Hamburg

DiedApril 3, 1897, Vienna

First PerformanceNovember 2, 1873, inVienna, Brahms conductedthe Vienna PhilharmonicOrchestra

STL Symphony PremiereFebruary 18, 1909, Max Zach

conductingMost Recent STL SymphonyPerformanceFebruary 22, 2009, Ward Stareconducting in Columbia,Missouri

Scoring2 utespiccolo

2 oboes2 clarinets2 bassoonscontrabassoon4 horns2 trumpetstimpanitrianglestrings

Performance Time

approximately 17 minutes


4/16

26

ALBAN BERGViolin Concerto

CONCERTO AS REQUIEM Alban Berg was, alongwith Arnold Schoenberg and Anton Webern,

part of a triumvirate of Viennese composerswho pioneered a radically new musical languagein the early decades of the 20th century. Evenso, Berg was not a musician of revolutionarytemperament. On the contrary, he had greatreverence for musical tradition. And his ViolinConcerto is not an iconoclastic piece, but onethat draws substance from the musical past.

We owe this composition to the Americanviolinist Louis Krasner, who early in 1935asked Berg to write a new work for him. Inresponse, the composer began sketching a violinconcerto, but the character of the compositionsoon took on a new dimension. In April, thecomposer learned that Manon Gropius, the18-year-old daughter of Alma Mahler by hersecond husband, the architect Walter Gropius,

had died. Berg had remained close to GustavMahlers widow since that composers death, in1911. He was particularly fond of Manon, andhe now developed a conception of the ViolinConcerto as a requiem for her. Working at a paceunprecedented in his career, he completed it ina matter of months. Sadly, he never heard this,his nal composition. By the end of the year, Berghimself was dead from blood poisoning.

IT IS ENOUGH The concerto is built from a12-note series that is pregnant with beautifulmusical ideas. As its most basic feature, theseries outlines a number of major, minor, andaltered chords that permeate the work with darkharmonies and eeting tonal relationships. Mostof the thematic also derives from the series, but

Berg relaxes his serial procedures to allow twoextraneous quotations. The rst is an Austrianfolk song, which appears near the end of the rstmovement. The second, and more signicant, isthe Lutheran chorale Es ist genug(It is enough)in its familiar harmonization by Bach. Althoughboth melodies are tenuously related to the series,their appearance in the concerto can be attributedto poetic rather than formal considerations.

BornFebruary 9, 1885, Vienna

DiedDecember 24, 1935, Vienna

First PerformanceApril 19, 1936, at a estival othe International Societyor Contemporary Music, inBarcelona, Louis Krasner wasthe soloist, and HermannScherchen the conductor

STL Symphony PremiereJanuary 30, 1960, Isaac Sternwas soloist, with EdouardVan Remoortel conducting

Most Recent STL SymphonyPerformanceFebruary 16, 2008, ChristianTetzlaf was soloist, withDavid Robertson conductingat Carnegie Hall

Scoringsolo violin2 utes2 piccolos2 oboesEnglish horn3 clarinetsbass clarinetalto saxophone2 bassoonscontrabassoon4 horns2 trumpets2 trombonestubatimpanipercussionharpstrings

Performance Timeapproximately 22 minutes


5/16

27

LUDWIG VAN BEETHOVENSymphony No. 2 in D major, op. 36

DE PROFUNDIS...The rst years of the 19th centurybrought a period of growing crisis to Ludwig van

Beethovens life. For some time the composerhad been noticing a progressive deteriorationin his hearing, a development he found,understandably, more than a little disturbing.Early in 1802 Beethoven had placed his medicalcare in the hands of one Dr. Johann Schmidt, aprominent Viennese physician. Schmidt couldnot have cured the ailment that most concerned

Beethoven. Medical investigators now generallyagree that the cause of the composers deafnesswas an irreversible deterioration of the auditorynerve. But the physician treated his illustriouspatient as best he could. In the summer of1802 he urged Beethoven to take lodgings inHeiligenstadt, a village outside Vienna, wherethe composer could spare his hearing as muchas possible and bathe at a spa in whose curative

powers Schmidt placed great stock.In Heiligenstadt, where he remained all

summer and into autumn, Beethovens hearingcontinued to fade, and the long hours ofisolation allowed him to brood with increasingdespondency on his condition. Finally, no longerable to contain his despair, the composer madeout a will, an extraordinary document nowknown as the Heiligenstadt Testament, inwhich he gave voice to his anguish in dramaticand desperate language, and even broached thepossibility of suicide.

BRIGHT MUSIC The emotional abyss reectedin the Heiligenstadt Testament might haveparalyzed another artist, or perhaps yieldedbleak music full of grieving or fury. Yet the chief

product of Beethovens season at Heiligenstadtwas his Symphony No. 2, one of the composerssunniest works. Beethoven had made sketchesfor this piece during the previous winter andspring and brought them to Heiligenstadt. By thetime he returned to Vienna, in the early autumnof 1802, the score was all but complete.

Program notes 2013 by Paul Schiavo

BornDecember 16, 1770, Bonn

DiedMarch 26, 1827, Vienna

First PerformanceApril 5, 1803, in Vienna, underthe composers direction

STL Symphony PremiereNovember 5, 1915, Max Zachconducting

Most Recent STL SymphonyPerformanceDecember 12, 2004, JaneGlover conducting

Scoring2 utes2 oboes2 clarinets2 bassoons

2 horns2 trumpetstimpanistrings



6/16

28

DAVID ROBERTSONBEOFOR MUSIC DIRECTOR AND CONDUCTOR

David Robertson has established himself asone of todays most sought-after American

conductors, and has forged close relationshipswith major orchestras around the world throughhis exhilarating music-making and stimulatingideas. In fall 2012, Robertson launched hiseighth season as Music Director of the 133-year-old St. Louis Symphony. In January 2014, whilecontinuing as St. Louis Symphony music director,Robertson also will assume the post of ChiefConductor and Artistic Director of the SydneySymphony in Australia.

In September 2012, the St. Louis Symphonyand Robertson embarked on a European tour,which included appearances at Londons BBCProms, at the Berlin and Lucerne festivals, andculminated at Pariss Salle Pleyel. In March2013 Robertson and his orchestra returnto California for their second tour of the

season, which includes an intensive three-dayresidency at the University of California-Davisand performance at the Mondavi Center forthe Performing Arts, with violinist James Ehnesas soloist. The orchestra will also perform atvenues in Costa Mesa, Palm Desert, and SantaBarbara, with St. Louis Symphony PrincipalFlute, Mark Sparks, as soloist.

In addition to his current position with the

St. Louis Symphony, Robertson is a frequentguest conductor with major orchestras andopera houses around the world. During the2012-13 season he appears with prestigious U.S.orchestras such as the New York Philharmonic,Los Angeles Philharmonic, and San FranciscoSymphony, as well as internationally with theRoyal Concertgebouw Orchestra, Vienna Radio

Symphony Orchestra, Israel Philharmonic, andEnsemble Intercontemporain.Born in Santa Monica, California,

David Robertson was educated at LondonsRoyal Academy of Music, where he studiedhorn and composition before turning toorchestral conducting.

David Robertson and theSt. Louis Symphony tour

Caliornia this month.


7/16

29

JAMES EHNESGRAYBAR ELECTRIC COMPANY, INC. GUEST ARTIST

In the 2012-2013 season James Ehnes performsin the United States, Canada, the United

Kingdom, Sweden, Germany, the Netherlands,France, Australia, and New Zealand. Seasonhighlights include the Brahms Concerto withValery Gergiev and the London SymphonyOrchestra at New Yorks Avery Fisher Hall, atour to the far north of Canada with the NationalArts Centre Orchestra, a solo violin recital atthe Aix-en-Provence Easter Festival, and returnengagements with the Philharmonia, RotterdamPhilharmonic, and London, San Francisco,Toronto, Gothenburg, and City of BirminghamSymphony Orchestras. An avid chambermusician, Ehnes will tour with his string quartet,the Ehnes Quartet, and lead the winter andsummer festivals of the Seattle Chamber MusicSociety, where he is the Artistic Director.

Ehnes has an extensive discography of more

than twenty-ve recordings featuring musicranging from J.S. Bach to John Adams. Recentreleases include two CDs of the music of BlaBartk as well as a recording of Tchaikovskyscomplete works for violin. His recordings havebeen honored with many international awardsand prizes, including a Grammy, a Gramophone,and six Juno Awards.

Ehnes was born in 1976 in Brandon,

Manitoba, Canada. He began violin studies at theage of four, and at age nine became a protg ofthe noted Canadian violinist Francis Chaplin. Hestudied with Sally Thomas at the MeadowmountSchool of Music and from 1993 to 1997 at theJuilliard School, winning the Peter Mennin Prizefor Outstanding Achievement and Leadership inMusic upon his graduation.

James Ehnes plays the Marsick Stradivariusof 1715. He currently lives in Bradenton, Floridawith his wife and daughter. He most recentlyperformed with the St. Louis Symphony inOctober 2011.

James Ehnes perorms withthe St. Louis Symphony at

the Mondavi Center on thecampus o UC-Davis on therst leg o the SymphonysCaliornia tour.

Benjamin

ealovega


8/16

30

CONCERT PROGRAMMarch 10, 2013

Ward Stare, conductor

St. Louis Symphony Youth Orchestra

BIZET LArlsienne Suite No. 1 (1872)(1838-1875)

PrludeMinuettoAdagiettoCarillon

INGRAM MARSHALL Kingdom Come (1996-97)(b. 1942)

INTERMISSION

BRAHMS Symphony No. 4 in E minor, op. 98 (1884-85)(1833-1897)

Allegro non troppoAndante moderatoAllegro giocoso

Allegro energico e passionato


9/16

31

GEORGES BIZETLArlsienneSuite No. 1

FROM PRODIGY TO FAILURE Georges Bizet lived36 yearsalmost exactly as long as Mozartandalso like Mozart was a child prodigy. But not allshort-lived child prodigies end up like Mozart.Bizet is known mostly for his nal work: theopera Carmen, which remains one of the most

popular works in the repertory, but the composerdied of heart failure just three months afterits controversial premiere, convinced that hismasterpiece was a dismal failure.

SALVAGING SOME INCIDENTAL MUSICAlthough Bizet enjoyed few real successesduring his lifetime, what we know today asLArlsienne Suite No. 1 is a happy exception.In 1872, desperate for cash, Bizet composedthe incidental music for Alphonse Daudetsmelodrama LArlsienne, in which a young manloves a girl he cannot have and commits suicide.The few critics who bothered to show up hatedthe play, complaining that there were too manyovertures, and it was equally unpopular withthe general public. After several poorly attended

performances, the play closed. But Bizet did notgive up. Encouraged by his peers, including thecomposer Jules Massenet, Bizet recycled the bestparts of the score, eshed out the orchestration,and assembled a four-movement suite. The rstperformance, in November 1872, was a hit.(After the composers death, less than three yearslater, his friend Ernest Guiraud selected some ofthe unused portions of the original score, addeda minuet from Bizets earlier opera La Jolie flle dePerthe, and created a second suite.)

REDEMPTION SONGSBY REN SPENCER SALLER

BornOctober 25, 1838, Paris

DiedJune 3, 1875, Bougival, nearParis

First Performance

November 10, 1872, tiennePasdeloup conducted atCirque dhiver in Paris

YO PremiereMay 10, 1998, David Loebelconducting the only previousYO perormance

Scoring2 utes

oboeEnglish horn2 clarinetsalto saxophone2 bassoons4 horns2 trumpets2 cornets3 trombonesTimpaniPercussion

HarpStrings

Performance TimeApproximately 17 minutes


10/16

32

INGRAM MARSHALLKingdom Come

VARIOUS VOICES Kingdom Comewas composedin 1996 and 1997 in memory of Francis Tomasic,

Ingram Marshalls brother-in-law, who was killedon May 1, 1994, while working as a journalistin Bosnia. Taped elements of the compositionwere collected years earlier and represent themagpie tendencies of Marshalls singular voice.As the composer writes in the liner notes forthe Nonesuch recording of the piece, In 1985,on a Sunday morning in June, I wandered intoa Croatian Catholic church in Dubrovnik andturned on the machine just as the congregationbegan a dirge-like hymn that seemed to share themelody of Nearer My God to Thee. A little laterin the day, I found the main Serbian Orthodoxchurch in town and went in with the tapemachine going. A service was in progress and youcould hear the strange duality of the male priestintoning behind the iconostasis and the female

cantor on the congregation side. Bells fromoutside were ringing as well. These recordingseventually found their way into Kingdom Come,along with an old ethnographic recording of aBosnian Muslim gusle singer.

A MARTIAL ELEGY These eld recordings werecarefully manipulated to complement the scoresorchestral sonorities: slowed down, looped, and

processed at different pitch levels. In additionto this collage-cum-commentary on the ethnicviolence that devastated the region, the piecealludes to Sibeliuss tone poemThe Swan of Tuonelaand to Marshalls earlier workDark Waters. Byturns ominous and elegiac, contentious andconvergent, Kingdom Comeembodies Marshallscapacious and syncretic sonic ventures without

sounding like a multicultural mishmash.Although undeniably tragic, the piece cannotbe reduced to a simple argument and does notimpose a particular political viewpoint. From itslive orchestral opening to its quiet coda, in whichthe Croatian, Serbian, and gusle singers areheard together for the only time, Kingdom Comeremains profoundly personal.

BornMay 10, 1942, Mount Vernon,

New York; now lives in NewHaven, Connecticut

First PerformanceNovember 2, 1997, NewYork City, by the AmericanComposers Orchestra, PaulLustig Dunkel conducting

YO PremiereThis perormance

Scoring3 utespiccolo2 oboesEnglish horn2 clarinetsbass clarinetE-at clarinet2 bassoonscontrabassoon

4 horns3 trumpets3 trombonestubatimpanipercussionpianostringsrecorded sounds



11/16

33

JOHANNES BRAHMSSymphony No. 4 in E minor, op. 98

AN AWKWARD SILENCE Although the SymphonyNo. 4 is widely considered to be the capstone

of Johannes Brahmss work as a symphonist, itwas not warmly welcomed. After the composerand fellow pianist Ignaz Brll performed a two-piano reduction of the score for a small gatheringof the composers closest friends, an awkwardsilence descended. The conductor Hans Richterand the music critics Eduard Hanslick and MaxKalbeck, all loyal supporters, were unable to saya single nice thing about it. Hanslick later wrote,I felt as though I were being thrashed by twoextremely clever fellows. Kalbeck told him thatthe nale, now regarded as the very heart of thework, was unsuitable for a symphony and shouldbe replaced.

FROM FLOP TO TRIUMPHANT FAREWELL Althoughthe Fourths premiere, conducted by the composer

himself on October 25, 1885, in Meiningen,was a great success, it opped badly in laterperformances in Vienna. The Austrian composerand critic Hugo Wolf dismissed it as the art ofcomposing without ideas. Even the conductorHans von Blow, who famously anointed Brahmsthe successor to Bach and Beethoven, describedit as difcult, very. For more than a decade,audiences were unmoved, if not openly hostile. It

was not until his nal appearance in public, lessthan a month before he died, that Brahms was towitness a positive response to his nal symphony.His former student-turned-biographer FlorenceMay described the performance in Vienna ofMarch 7, 1897, as follows: A storm of applausebroke out at the end of the rst movement,not to be quieted until the composer, coming

to the front of the artists box in which he wasseated, showed himself to the audience.... Theapplauding, shouting house, its gaze riveted onthe gure standing in the balcony, so familiar andyet in present aspect so strange, seemed unable tolet him go. Tears ran down his cheeks as he stoodthere in shrunken form, with lined countenance,strained expression, white hair hanging lank;

BornMay 7, 1833, Hamburg

DiedApril 3, 1897, Vienna

First PerformanceOctober 25, 1885, inMeiningen; Brahmsconducted the renownedMeiningen Orchestra

YO PremiereDecember 1, 1976, Gerhardt

Zimmermann conductingthe only previous YOperormance

Scoring2 utespiccolo2 oboes2 clarinets2 bassoonscontrabassoon

4 horns2 trumpets3 trombonestimpanipercussionstrings



12/16

34

and through the audience there was a feeling as of a stied sob, for each knewthat they were saying farewell.

ANCIENT AND MODERN, DARK AND LIGHT Today it is hard to understandwhy Brahmss contemporaries found the Fourth so perplexing. Although it is

certainly cunningly made, its cerebral underpinnings never distract from itsbeauty. The repeating cycles of descending thirds, which appear throughoutthe symphony in myriad motivic patterns, unite contrasting moods. Darknesspermeates light, minor shifts to major, and vice versa. The springing Allegrotheme of the rst movement gives rise to an overt quotation from one ofBrahmss Four Serious Songs: Oh death, how bitter you are. The gorgeousAndante moderato begins with a theme in the medieval-church Phrygianmode, which Brahms understood as the expression of deep need, a longing

for heavenly comfort, and then gives way to the scherzo-like Allegro giocoso, atriangle-happy romp in C major. Yet it is the nale, based on the almost archaicpassacaglia form (a set of variations over a repeated bass line), that rendersthe work truly sublime. A masterful compendium of everything Brahms hadlearned as a symphonist, it is loosely based on Bachs death-drunk CantataNo. 150, For Thee, O Lord, I Long, and transforms an ancient device into arecognizable but astonishing take on 19th-century sonata form.

Program notes 2013 by Ren Spencer Saller


13/16

35

WARD STARE

A native of Rochester, New York, Ward Staremade a successful Lyric Opera of Chicago debutin Humperdincks Hnsel und Gretel in January

2013. Stare recently completed his tenure asResident Conductor of the St. Louis Symphony.In April 2009, he made his highly successfulCarnegie Hall debut with the orchestra,stepping in at the last minute for Music DirectorDavid Robertson, who performed the role ofchansonnier in H. K. Grubers Frankenstein!!.

The 2010-11 season included Staresdebut with the Norwegian National Operain a new production of Brittens The Rape ofLucretia. Future opera engagements includeappearances at Opera Theater of St. Louis andStares return engagement with Lyric Opera ofChicago in 2014-15.

Highlights of the 2011-12 season includedbeing named Musician of the Month byMusicalAmerica in November 2011, and an invitation

to participate in the prestigious Allianz CulturalFoundations 2012 International ConductorsAcademy. Over the course of four months,Stare worked intensively with both the LondonPhilharmonic Orchestra and the Philharmoniaculminating in Stares debut with the LPO inRoyal Festival Hall in April 2012.

Recent and upcoming engagements includethe Atlanta Symphony, Houston Symphony,

Qubec Symphony, Dallas Symphony, RochesterPhilharmonic Orchestra, and the St. LouisSymphony, with which he conducts a programfeaturing Strausss Der Rosenkavalier Suite onApril 19-20, 2013.

Following in the path of many greatorchestral conductors whose careers beganas instrumentalists, Stare was trained as a

trombonist at the Juilliard School in Manhattan.At the age of 18, he was appointed principaltrombonist of the Lyric Opera of Chicago andhas performed as an orchestral musician with theChicago Symphony Orchestra and the New YorkPhilharmonic, among others.

Ward Stare returns toconduct the St. Louis

Symphony, April 19-20, 2013.


14/16

36

First ViolinsVirginia DoyleConcertmasterHava PolinskyCo-Assistant

ConcertmasterChristopher GoesslingCo-Assistant

ConcertmasterMaggie AnHannah HartJulia (Geeo) SonJohn LiRachelle Ferguson

Caroline CordellWill CrockAmanda CaoThomas JohnsonSam LordAisling OBrienAlan Rasheed

Second ViolinsMatthew Sprague

PrincipalAnthony SuAssistant PrincipalGajan KumarAidan IpEmily XuJonathan KarpKatelyn HamreHaohang XuElizabeth CordellRebecca LiuCherry TomatsuAlan LuSarah Kovich

ViolasSean ByrnePrincipalDaniel LarsonAssistant PrincipalAndrew Stock

Marisa McKeeganAnne BewigBrett ShockerMeredith McMahonEunnuri YiSharanya Kumar

CellosSean HamrePrincipalAlex GroeschMargaret MadsenGrant RiewEric ChoJoanne LeeJoshua HartJulie HolzenDylan LeeAnn Ryu

Double Basses

Toni SaputoPrincipalBria RobinsonAssistant PrincipalRyan WahidiPhillip SansoneAnnamarie PhillipsJohn Paul ByrneAndie BarnettJustus Schriedel

HarpKatie Hill

FlutesShiori TomatsuPrincipalKaitlyn PostulaRachel Petzoldt

Piccolo

Kaitlyn Postula

OboesEthan LeongPrincipalMackenzie BrazierLauren Claire White

English HornLauren Claire White

ClarinetsEarl KovacsPrincipalEmily SpaughAleksis MartinStephanie Uhls

E-at ClarinetAleksis Martin

Bass ClarinetStephanie Uhls

BassoonsDavid CarterPrincipalAlex DaviesJoseph HendricksCraig Butler

ContrabassoonAlex DaviesAlto Saxophone

Zachary Nenaber

HornsRachael HutsonMatthew BlochIrene HenryAllison GaciochKaia Cosgriff

Trumpets

Charles PragerPrincipalDustin ShrumJulia Tsuchiya-MayhewGarrett L. Thomas

TrombonesMichael McBridePrincipalEvan PetzoldtAssistant PrincipalBrett Lindsay

Bass TromboneCarter Stephens

TubaJames J. Fritz

Keyboard InstrumentsJoshua Street

Percussion/TimpaniRyan FirthBrandon LeeJoshua LuthyTim Padgett

STL Symphony CoachesEllen dePasqualeViolin IEva KozmaViolin IIEva SternViolaBjorn RanheimCelloSarah HoganDouble BassMark SparksFlutePhilip Ross

OboeTina WardClarinetScott AndrewsClarinetAndrew CuneoBassoonTod BowermasterFrench HornMichael Walk

TrumpetJonathan ReycraftTrombone/TubaWilliam JamesPercussion/Timpani

Music LibraryElsbeth BruggerHenry SkolnickRoberta Gardner

Stage StafBruce MourningStage ManagerJoseph ClapperAssistant Stage ManagerJoshua RiggsStage TechnicianJeffrey Stone

Manager

Jessica Ingraham

ST. LOUIS SYMPHONY YOUTH ORCHESTRA 2012-2013


15/16

37

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.


16/16

38

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 Program - March 9, 2013