St. Louis Symphony Program - Nov. 23-25, 2012

7/30/2019 St. Louis Symphony Program - Nov. 23-25, 2012

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CONCERT PROGRAMNovember 23-25, 2012

David Robertson, conductorGil Shaham, violin

J. STRAUSS, JR. Geschichten aus dem Wienerwald(1825-1899) (Tales from the Vienna Woods), op. 325 (1868)

Kurt von Eckroth, zither

HAYDN Symphony No. 104 in D major, London (1795)(1732-1809)

Adagio; AllegroAndanteMenuet: AllegroFinale: Spiritoso

INTERMISSION

BEETHOVEN Violin Concerto in D major, op. 61 (1806)(1770-1827)

Allegro ma non troppoLarghetto

Rondo: Allegro

Gil Shaham, violin


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ACKNOWLEDGMENTS

David Robertson is the Beofor Music Director and Conductor.

Gil Shaham is the Carolyn and Jay Henges Guest Artist.

The concert of Friday, November 23, is underwritten in part by a generousgift from Mrs. Emily R. Pulitzer.

The concert of Saturday, November 24, is underwritten in part by a generousgift from Larry and Cheryl Katzenstein.

The concert of Saturday, November 24, is underwritten in part by a generous

gift from Dr. and Mrs. Philip Needleman.

The concert of Sunday, November 25, is underwritten in part by a generousgift from Mrs. Laura R. Orthwein.

Pre-Concert Conversations are presented by Washington UniversityPhysicians.

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 STAGESt. Louis Symphony First Violin Jessica Cheng on Gil Shaham: First of all, he is

always very passionate about what he is playing. You never feel like hesplaying halfway. Hes always at about 200 percent.Hes also a very nice person, and that counts. As great as he is, there

doesnt seem to be any ego. I rst played with him when I was about 14. HisSibelius recording had just come out and I was listening to it all the time. Iremember when I met him I called him Mr. Shaham. He said, Please, call meGil. That made quite an impression on a 14-year-old violinist.

He always has such a round, rich sound. Playing with him you knowthere will be a give and take between Gil and the orchestra, but he knows

what he wants and what he wants to make out of the sound. He is the soloist,after all, so he comes here with something to say about the music and wewant to complement him in every way we can.

Gil Shaham


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TIMELINKS

1795HAYDNSymphony No. 104 in Dmajor, LondonNapoleon achieves

increased political powerin France

1806BEETHOVENViolin Concerto in Dmajor, op. 61Ingres paints Napoleon Ion His Imperial Throne

1868J. STRAUSS, JR.Geschichten aus demWienerwald (Tales fromthe Vienna Woods), op. 325Brahmss Ein deutschesRequiem premieres

Viennathe name is almost synonymous with

music. The cradle of musics classical tradition,the Austrian capital was home at various timesto Haydn, Mozart, Beethoven, Brahms, Bruckner,and Mahler. In Vienna Franz Schubert, a nativeson, spent his brief life pouring forth songs, pianopieces, and symphonies. In Vienna Alban Berg,another life-long resident, wrote his hauntingViolin Concerto. There the Strauss family lledthe air with waltzes. What Paris has been to

painters and London to writers, so Vienna hasbeen to composers.

Viennas rich musical heritage encompassesboth serious and light music. Although thesymphony, string quartet, piano sonata, andGerman art song are intimately connected withthe composers who lived and worked there,music in the city has hardly been conned to such

elevated compositional genres. Popular songs,dances, and theater music have also ourishedthere, giving expression to the spirit of gaietyand elegance that characterized the Austriancapital from the late 18th through the early 20thcenturies. The best of this lighter Viennese faredisplays a degree of artistry worthy of the moreexalted genres of concert music.

Our concert presents three works by

composers who made Vienna home. The last inthe great line of symphonies by Franz JosephHaydn and the Violin Concerto of Beethovenrepresent the classical school of Viennese music,which ourished during the half-century around1800. But we begin with a composition by theacknowledged master of what has come to becalled Viennas light classical style, JohannStrauss the younger.

CITY OF MUSICBY PAUL SCHIAVO


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JOHANN STRAUSS, JR.Geschichten aus dem Wienerwald (Tales from theVienna Woods), op. 325

KING OF THE WALTZ Viennas tradition of rened

popular music found its ideal expression in thewaltz, and the most celebrated composer of thatgenre was Johann Strauss, Jr. It is not surprisingthat Strauss should have brought Viennesepopular music to its pinnacle of sophistication.He was born not just into a musical family butinto one for whom the Viennese popular stylewas a native tongue. His father, also namedJohann Strauss (1804-49), was a violinist,orchestra leader, and composer who became thecitys leading purveyor of light music during thesecond quarter of the 19th century.

The younger Johann Strauss followed inhis fathers footsteps, gaining renown as both aviolinist and a composer. His skill in fashioningpolkas, quadrilles, and especially waltzesestablished him as the worlds pre-eminent

composer of dance music and earned him hisunofcial title, The Waltz King. It also won himthe respect of some of the best musical mindsof his day. Both Brahms and Wagner, Strausssgreatest German contemporaries, were amonghis admirers. When Brahms was introduced toStrausss daughter, he honored her request forhis autograph by sketching the famous melodyof her fathers waltz On the Beautiful Blue Danube

and adding: Not, alas, by yours truly, J. Brahms.Excepting onlyOn the Beautiful Blue Danube,

the most famous Strauss waltz is Tales from theVienna Woods. In this work, which dates from1868, Strauss transcends the usual functionand character of the waltz, creating music thatis as much a small tone poem as a dance piece.It begins with an introductory paragraph, a

compressed piece of nature music with whichwe seem to awaken in the wooded countrysideoutside the Austrian capital. (Did Mahler have thispassage subconsciously in his ear as he wrote theopening of his Symphony No. 1, another musical

evocation of woodland at dawn?) The waltz melodies that follow include oneof Strausss most famous themes, a poignantly nostalgic tune that perfectlyevokes Old Vienna at the height of its Hapsburg-empire elegance.

BornOctober 25, 1825, Vienna

DiedJune 3, 1899, Vienna

First PerformanceUnknown, but almost certainly1868, in Vienna, by the JohannStrauss Orchestra, under thecomposers direction

STL Symphony PremiereApril 17, 1905, Alred Ernst

conducting

Most RecentSTL Symphony PerformanceJanuary 12, 1975, GerhardtZimmermann conducting

Scoring2 utespiccolo2 oboes

2 clarinets2 bassoons4 horns3 trumpets3 trombonestubatimpanipercussionharpzither

stringsPerformance Timeapproximately 11 minutes


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FRANZ JOSEPH HAYDNSymphony No. 104 in D major, London

FROM VIENNA TO LONDON Franz Joseph Haydnwas born in the Austrian village of Rohrau, but

at age eight he came to Vienna as a member ofthe choir at St. Stephens Cathedral. Such anopportunity afforded him a solid education,especially in music, and when Haydn outgrew hisusefulness as a choir boy he was able to supporthimself (although just barely) as a freelancecomposer, player, and teacher. Eventually hegained a position as resident composer andconductor of a ne orchestra at the court ofNikolaus, Prince Esterhzy, one of the mostprominent and wealthy peers of the HapsburgEmpire and a lover of music.

Prince Nikolaus divided his time betweenVienna and his splendid rural estate, which hebuilt to rival Versailles. His musical entouragetraveled with him, so Haydn also spent abouthalf the year in the capital and half in the nearby

countryside. This arrangement evidently suitedthe composer. Certainly it did nothing to inhibithis creativity. During his three-decade tenureat the Esterhzy court, Haydn composed anextraordinary quantity of music: operas, stringquartets and other chamber music, piano pieces,and more than 80 symphonies.

But Haydns crowning achievements in theeld of the symphony were written not for the

Esterhzy court nor even for Vienna, where hiscompositions eventually became widely knownand admired. In 1791-92 and again in 1794-95 Haydn obtained leave from his duties tothe Esterhzy family in order to visit London,where he presented numerous concerts of hismusic. For these events Haydn wrote his nal 12symphonies, works that represent the genre at

the peak of its early development.

INDUCING RAPTURE Haydns last symphonydates from the spring of 1795. It has becomeknown as the London Symphony, though thatdesignation would equally describe any of thecomposers last dozen symphonies. Moreover,

BornMarch 31, 1732, Rohrau, Austria

DiedMay 31, 1809, Vienna

First PerformanceOn or about April 13, 1795, inLondon, conducted by thecomposer

STL Symphony PremiereJanuary 7, 1909, Max Zachconducting

Most RecentSTL Symphony PerformanceOctober 24, 2004, HarryBicket conducting

Scoring2 utes2 oboes2 clarinets2 bassoons

2 horns2 trumpetstimpanistrings

Performance Timeapproximately 29 minutes

Thomas

hardy


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this is a composition very much in the Viennese classical manner, withnothing English about the music.

The symphony received its rst performance in April of that year, at whichtime a London newspaper, the Morning Chronicle, praised both the symphonyand its rendition: This wonderful man never fails, the anonymous reviewer

wrote of Haydn; and the various powers of his inventive and impassionedmind have seldom been conceived with more accuracy by the Band, orlistened to with greater rapture by the hearers, than they were this evening.Audiences have been listening to the London Symphony with rapture formore than two centuries since then. It has long been among the most popularof Haydns compositions.

The work follows the four-movement plan that by this time had becomeHaydns standard symphonic format. Haydn precedes the Allegro that

constitutes the main body of the rst movement with a solemn introductionin slow tempo, a feature of all but one of the symphonies the composerwrote for England. The ensuing Allegro begins with a melody that is by turnsgraceful and exuberant. Following a transitional passage, the music reachesa brief pause. Here Haydn surprises us, returning to his principal themeinstead of presenting a second, contrasting idea. The single subject provesquite sufcient. Much of the movement, in fact, is based on a brief fragmentof the melody beginning with four repeated notes. Nothing could be morecharacteristic of Haydns inventiveness than the diverse uses he nds for this

unassuming motif.The second movement reveals again Haydns delight in the unexpected.

Although the theme presented by the strings appears disarmingly simple, itoffers a succession of surprises: sudden pauses, unexpected turns of melodyand harmony, abrupt dynamic contrasts. It also contains unsuspected dramaticpossibilities, as Haydn reveals in the movements central minor-key episode.

Robust off-beat accents enliven the third movements minuet, to which theowing central section provides a well-considered contrast. The nale centerson a melody whose rustic character is emphasized by the sustained dronethat accompanies it. Haydn ingeniously combines this theme with severalsubsidiary motifs during the course of the movement, and he closes his careeras a symphonist on a jubilant note.


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LUDWIG VAN BEETHOVENViolin Concerto in D major, op. 61

IN VIENNA, A NEW PATH Beethoven wasborn and raised in Bonn, but he moved to

Vienna permanently in 1792. There he quicklyestablished himself as the foremost pianist in acity that could boast many ne keyboard players.His emergence as an important composer camemore slowly. On his arrival in the Austrian capitalBeethoven undertook studies with Haydn, andthe earliest compositions he completed thereclosely reected the older mans style. But bythe end of the decade Beethoven was nding hisown distinct manner, and soon he conded to afriend his determination to pursue a new pathin his music.

The musical landscape to which that path ledcame clearly into view in 1804, when Beethovenunveiled his Symphony No. 3, which he calledHeroic Symphony, or Eroica. True to that title,it embodied music of unprecedented power

and scale. The composer now moved boldly toconsolidate the gains achieved in this symphony,producing other works whose dimensions andexpressive fervor greatly exceeded the normsestablished by Haydn, Mozart, and othercomposers of the preceding period. Those workscame in a torrent of creativity that reached itsheight in 1806. That year produced BeethovensFourth Symphony and much of his Fifth, the

three great Razumovsky String Quartets, theFourth Piano Concerto, a new version of theopera Leonore (including the popular LeonoreOverture No. 3) and, not least, the composersViolin Concerto.

MORE THAN A SHOWPIECE Beethoven wrotethis work as a favor for a violinist named Franz

Clement, who performed it during a concerton December 23 of the same year. Clement wasthen one of the most respected musicians inVienna and, by all accounts, a virtuoso of nomean ability. In fact, Beethoven reportedly didnot nish the piece until just before the concertand Clement, astonishingly, played the solopart without benet of practice or a rehearsal.

BornDecember 16, 1770, Bonn

DiedMarch 26, 1827, Vienna

First PerformanceDecember 23, 1806, inViennas Theater-an-der-Wien;Franz Clement, or whomBeethoven had written thepiece, was the soloist

STL Symphony Premiere

February 27, 1905, Fritz Kreislerwas soloist, with Alred Ernstconducting

Most RecentSTL Symphony PerformanceSeptember 7, 2012, ChristianTetzlaf was soloist, withDavid Robertson conductingat Pariss Salle Pleyel at theconclusion o the recentEuropean tour

Scoringsolo violinute2 oboes2 clarinets2 bassoons2 horns2 trumpets

timpanistrings

Performance Timeapproximately 42 minutes


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Violinists who have struggled with the works demanding passagework are,naturally, skeptical about this anecdote.

Yet this concerto is neither a virtuoso showpiece nor an occasionalcomposition produced quickly to atter a renowned performer. The musicsuggests not only a high level of inspiration but the type of conscientious

effort that generally attended the creation of Beethovens nest works. It isthe rst of the great 19th-century German concertos for the violin. Those thatfollowed it, the concertos of Mendelssohn, Bruch, and Brahms, could scarcelyhave been conceived without the precedent of its expansive dimensions andelevated character.

ORGANIC STRUCTURE AND SHEER MOMENTUM The work opens with fournotes sounded quietly by the timpani. This motif proves more than just a fanfare

for more lyrical ideas. It returns in different guises again and again throughoutthe rst movement, a thread linking its various themes and sections. Itsunifying inuence is important, for the movement unfolds on a broad scale,as the lengthy orchestral exposition promises. A passage suggesting leisurelyimprovisation brings the solo instrument to the proceedings, and the violinnow joins in exploring and developing the melodic ideas the orchestra hasalready set forth. Everything that follows derives from the handful of themeslaid out during the initial paragraph. The result is perhaps Beethovens mostsuccessful resolution of the conict inherent in the classical-period concerto

between the highly individual posture of a virtuoso soloist and the desire foran organic musical structure based on the principle of thematic development.

In contrast to the extended and complex rst movement, the ensuingLarghetto reveals a simple and quite economical premise: a set of variations ona hymn-like theme rst intoned by the muted string choir. Over each successivestatement of this subject the soloist spins increasingly ornate countermelodies,its line soaring high above the orchestra. A deep serenity prevails. Only inapproaching the cadenza, the featured performers soliloquy, do we encountera moment of harmonic tension typical of Beethoven.

The nale, which follows without pause, features a dance-like principaltheme whose recurrences alternate with several contrasting episodes. Thelatter offer a variety of musical references: hunting calls from the orchestralwinds; robust double-stops in the solo part that suggest a gypsy violin; anda minor-key lament in a rather operatic vein. Even more than Beethovensconsiderable skill in binding these diverse musical ideas into a coherentwhole, the sheer momentum of the musicits feeling of inevitable progressionthrough each idea and nally to the concluding measuremakes this one of

the most satisfying nales of any concerto.

Program notes 2012 by Paul Schiavo


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DAVID ROBERTSONBEOFOR MUSIC DIRECTOR AND CONDUCTOR

A consummate musician, masterful programmerand dynamic presence, David Robertson hasestablished himself as one of todays most

sought-after American conductors. A passionateand compelling communicator with an extensiveorchestral and operatic repertoire, he has forgedclose relationships with major orchestras aroundthe world through his exhilarating music-makingand stimulating ideas. In fall 2012, Robertsonlaunched his eighth season as Music Director ofthe 133-year-old St. Louis Symphony. In January

2014, Robertson 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 return

to California for their second tour of theseason, 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 theSt. Louis Symphony, Robertson is a frequentguest conductor with major orchestras and operahouses around the world. During the 2012-13season he appears with prestigious U.S. orchestrassuch as the New York Philharmonic, Los AngelesPhilharmonic, and San Francisco Symphony,as well as internationally with the Royal

Concertgebouw Orchestra, Symphonieorchesterdes Bayerischen Rundfunks, Vienna RadioSymphony Orchestra, Israel Philharmonic, andEnsemble Intercontemporain.

Born in Santa Monica, California, DavidRobertson was educated at Londons RoyalAcademy of Music, where he studied hornand composition before turning to orchestralconducting.

David Robertson leads theSt. Louis Symphony on aCaliornia tour in spring 2013.

michaelTammaro


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GIL SHAHAMCAROLYN AND JAY HENGES GUEST ARTIST

In the 2012-13 season, Gil Shaham continues hislong-term exploration of Violin Concertos of the1930s, including Barber, Bartk 2, Berg, Britten,Prokoev 2, and Stravinsky in performances withthe New York Philharmonic, Boston Symphony,Chicago Symphony, San Francisco Symphony,Kansas City Symphony, and abroad with theOrchestre de Paris and the NHK Symphony.

In addition to taking on this breadth ofrepertoire he will perform with the Los AngelesPhilharmonic, Philadelphia Orchestra, Pittsburgh

Symphony, and Seattle Symphony in romanticand classical repertoire for which he is alsoacclaimed. He continues to concertize in recitalincluding tours in the U.S., Europe, and Japanwith pianist Akira Eguchi, as well as focusing onsolo violin performances. Highlighted in thesetours are two new works recently written for him,a solo suite by William Bolcom and a duo byAvner Dorman.

Shaham has more than two dozen concertoand solo CDs to his name, winning him multipleGrammys, a Grand Prix du Disque, DiapasondOr, and Gramophone Editors Choice. Hisrecent recordings are produced on the CanaryClassics label, which he founded in 2004; theyinclude Elgars Violin Concerto with the ChicagoSymphony, Tchaikovskys Piano Trio in A with

Yem Bronfman and Truls Mrk, The ProkofevAlbum, Mozart in Paris, and works by Haydn andMendelssohn. The coming season will featurethe release of the rst of a series of the 1930sconcertos, as well as a recording of HebrewMelodies with his sister, pianist Orli Shaham,which will include the new Dorman work writtenfor the artists.

Gil Shaham was awarded an Avery Fisher

Career Grant in 1990 and in 2008 he receivedthe coveted Avery Fisher Award. He plays the1699 Countess Polignac Stradivarius. He livesin New York City with his wife, violinist AdeleAnthony, and their three children.

Gil Shaham most recentlyperormed with the St. LouisSymphony or the New Years

Eve Concert o 2010.


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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 always fun to know stuff. For

example, whats up with D major?D major: You may notice that the Haydn Symphony and the Beethoven ViolinConcerto are written in D major. How come?

For the concerto, D major is an especially pleasing key for the structureof the violin. With strings tuned G D A E, the open strings resonate especiallywell with the D. How important is this? Well, Beethoven, Mozart, Paganini,Brahms, Tchaikovsky, Prokoev, Stravinsky, and Korngold all wrote brilliantviolin concertos in D major.

As for Haydn, of his 104 symphonies he wrote 23 in D major.Whatever works.

MY INSTRUMENT: ZITHERGUEST ARTIST KURT VON ECKROTHI have been playing zither, as an entertainer, since the age of 16. AWisconsin native, I learned the instrument from a Bavarian immigrant livingin Milwaukee.

The zither is an Alpine instrument found in Bavaria, Switzerland, Austriaand parts of Czechoslovakia. It is properly called the concert zither to set itapart from other brethren such as the Japanese Kyoto. A zither is dened as afretted, no necked, instrument. It is composed of roughly 40 horizontal strings,ve of which are fretted and played by theleft hand and plucked by the thumb of the

right hand. The remaining ngers of theright hand play the open accompanimentand bass strings. The ngerboard is tunedlike a viola and the remaining open stringsare tuned in the circle of fths. It can,therefore, be played in any key.

The 1949 classic lm The Third Mancontains a theme played on the zithera

song that became so popular that itbecame a top-selling American single.The instrument, just like a harp, is

very soft. Further, it is extremely difcult toplay, and even harder to play well. But thezither has a unique sound no longer oftenheard today. You hear it in these concertson Strausss Tales from the Vienna Woods.

Zither


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

Stanley Kubrick, director,2001: A Space OdysseyDVDA prehistoric bone cast into the skybecomes a spaceship in Earth orbit; musicchanges from Richard Strauss to JohannStrauss, Jr.

Charles Rosen, The Classical Style: Haydn,Mozart, BeethovenA bona de classic and National BookAward winner

Paul Hofmann, The Spell o the ViennaWoods: Inspiration and Infuence romBeethoven to KakaHenry Holt & Co.An exploration of one of the legendarysources of imaginations

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

Keep up with the backstage life of the St. Louis Symphony, as chronicled by

Symphony staffer Eddie Silva, via stlsymphony.org/blog

The St. Louis Symphony is on


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CORPORATE DONOR SPOTLIGHTEDWARD JONES

At Edward Jones, we believe music and the arts enrich our lives, nurture our

spirits, and help make St. Louis a ner place to live. Thats why weve ardentlysupported the St. Louis Symphony for more than twenty years.

About Edward JonesEdward Jones provides nancial services for individual investors in theUnited States and, through its afliate, in Canada. Every aspect of the rmsbusiness, from the types of investment options offered to the location ofbranch ofces, is designed to cater to individual investors in the communitiesin which they live and work. In the St. Louis area, Edward Jones employsmore than 4,800 people.

What does Edward Jones look for when choosing organizations to support?The Edward Jones Charitable Foundation, which manages the rms charitablegiving, provides funding to help improve the quality of life in the communitieswhere our associates live and work. Specically, we sponsor organizationsthat make our community a better place to live as well as those to which ourassociates contribute their time and money.

Why does Edward Jones support the St. Louis Symphony?The St. Louis Symphony helps set St. Louis apart. From hosting world-renowned musicians to presenting school programs to performing musicranging from Beethoven to Disney, the St. Louis Symphony has developed awell-rounded arts program that touches thousands of lives.

What value does Edward Jones receive by supporting the St. Louis Symphony?With Midwestern roots and our headquarters located in St. Louis, Edward

Jones is linked to the vibrancy of this community. We want our city to be aplace where people are proud to live, work and raise their families, whichtranslates directly into recruiting and retaining quality people. The St. LouisSymphony effectively helps make St. Louis that kind of place.

Why should other organizations support the St. Louis Symphony?The St. Louis Symphony is good for our community in myriad ways.Economically, it provides jobs, generates revenue and supports tourism.

Emotionally, it drives creativity, relaxation and interaction. Culturally, itenhances the quality of life for those who live in the region. During challengingeconomic times like these, the St. Louis Symphony needs corporate supportmore than ever.


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AUDIENCE INFORMATION

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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.

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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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Documents

St. Louis Symphony Program - Nov. 23-25, 2012