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CONCERT PROGRAMApril 19-20, 2013

Ward Stare, conductorSt. Louis Symphony Chorus

Amy Kaiser, director

BRAHMS Gesang der Parzen (Song of the Fates), op. 89 (1882) (1833-1897) St. Louis Symphony Chorus Amy Kaiser, director

WEBERN Im Sommerwind (1904) (1883-1945)

BRAHMS Schicksalslied (Song of Destiny), op. 54 (1868-71) St. Louis Symphony Chorus Amy Kaiser, director

INTERMISSION

J. STRAUSS, JR. Künstlerleben (Artist’s Life), op. 316 (1867) (1825-1899)

R. STRAUSS Der Rosenkavalier Suite, op. 59 (1909-10) (1864-1949)

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ACKNOWLEDGMENTS

Ward Stare is the Blackwell Sanders Peper Martin Guest Conductor.

Amy Kaiser is the AT&T Foundation Chair. The concert of Friday, April 19, is underwritten in part by a generous gift from Mr. and Mrs. Walter J. Galvin.

The concert of Friday, April 19, is underwritten in part by a generous gift from Mary Strauss.

The concert of Saturday, April 20, is underwritten in part by a generous gift from Ms. Phoebe Dent Weil.

Beer and Pretzels for this weekend’s concerts are generously provided by Anheuser-Busch and Companion.

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.

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TIMELINKS

1867-71BRAHMSSchicksalslied (Song of Destiny), op. 54

J. STRAUSS, JR.Künstlerleben (Artist’s Life), op. 316Marx’s Das Kapital published

1882BRAHMSGesang der Parzen (Song of the Fates), op. 89 Philosopher Friedrich Nietzsche pronounces the death of God

1904WEBERNIm Sommerwind Freud’s The Interpretation of Dreams published

1909-10R. STRAUSSDer Rosenkavalier Suite, op. 59 Joan of Arc declared a saint

What can we expect of our brief passages on this earth? Should we—can we?—enjoy pleasure where we find it, or are we destined for sorrow, or at least sorrowful ends? Is there a contradiction between these two possibilities, or are both perhaps true? These would seem weighty questions for an evening devoted to music, yet the five compositions that comprise our concert appear to ask them.

Two of the works we hear, both by Johannes Brahms, suggest a somber existential outlook rooted in classical antiquity, one that views human life as subject to powers beyond our ken or control. The other three imply that our lot is not so bleak. Anton Webern’s early tone poem Im Sommerwind conveys the idyllic pleasures of a summer day. Two works by Strauss—Johann and Richard, who were not related—intimate the pleasures of dance (specifically the waltz, which enjoyed such popularity in 19th-century Vienna), of young love and of comedy, in which all ends well.

For better or worse, the music we hear settles no philosophical questions. Each composition speaks eloquently for its own perspective.

DESTINY AND DIVERSIONSBY PAUL SCHIAVO

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JOHANNES BRAHMS Gesang der Parzen (Song of the Fates), op. 89

SINGING OF FATE AND FRAGILITY Several of Johannes Brahms’s major compositions using chorus and orchestra address matters of human destiny and, especially, the fragility of our existence on this earth. The earliest of these works, Ein deutsches Requiem (A German Requiem), acknowledges that “all flesh is like grass” but offers a comforting promise based on Christian doctrine: “Blessed are the dead that die in the Lord”; they will enjoy eternal rest. But in two later compositions, both of which we hear this evening, Brahms turned to a harsher ancient tradition, reworded by 19th-century German poets, which holds that our welfare is subject to the whims of the gods, or controlled by some malevolent destiny.

The latter of these two works opens our program. Brahms composed Gesang der Parzen (Song of the Fates) in 1882, using as his text a portion of Johann Wolfgang von Goethe’s Iphigenie auf Tauris (Iphigenia in Taurus). In his retelling of the Greek legend of Iphigenia, Goethe has the titular princess recall a song said to have been sung by the Parcae, or Fates, warning mankind of the capriciousness and wanton cruelty of the gods. It is the verses of this song that Brahms set to music in Gesang der Parzen.

The composer opens with stern music in the key of D minor, a tonality he also used for the stormy initial movement of his First Piano Concerto and for his Tragic Overture, op. 81. (Like Mozart, whose music he deeply admired, Brahms evidently conceived D minor as a key of turbulence and pathos.) Here the repetition of sharply etched rhythmic figures, the use of unsettled harmonies and what seems implacable tolling by the timpani help create an impression of inexorable destiny. Late in the work Brahms admits a ray of harmonic light, but the music soon returns to D minor, the quiet utterances of its final moments conveying only sad resignation.

BornMay 7, 1833, Hamburg

DiedApril 3, 1897, Vienna

First performanceDecember 10, 1882, in Basel, Switzerland

STL Symphony PremiereThis week

Scoringchorus of mixed voices2 flutespiccolo2 oboes2 clarinets2 bassoonscontrabasson4 horns2 trumpets3 trombonestubatimpanistrings

Performance Timeapproximately 14 minutes

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ANTON WEBERNIm Sommerwind

A MODERNIST’S ROMANTIC ROOTS Anton Webern is remembered as a pioneer of some of the most radical tendencies of 20th-century music. He was one of the first composers to attempt atonal composition, in which the centuries-old principle of a central pitch and orderly hierarchy of subsidiary notes gave way to a sense of free-floating harmonic abstraction. Later he devised intricate formal procedures for composing with tone rows, or series, containing all 12 musical notes. For this, Webern was lionized by composers of the mid-20th-century avant-garde, who adopted his methods as the basis of a new sort of composition that they hoped would cut them loose from the legacy of Romantic music once and for all.

Ironically, Webern himself had begun his career by writing in a late-Romantic manner indebted to Wagner, Richard Strauss, and Gustav Mahler. That youthful Romanticism is nowhere more evident than in his tone poem Im Sommerwind. Webern composed this piece in 1904, at age 21. It was never performed during his lifetime. Indeed, the manuscript was lost and rediscovered only in the 1960s.

SUMMER IDYLL Im Sommerwind was inspired by a poem that appears in a novel by the now largely forgotten German writer Bruno Wille (1860-1928). In this poem, whose title translates as “In the Summer Breeze,” Wille describes impressions and daydreams of a summer’s day. Webern’s composition is an abstract musical rendition of the poem. The composer subtitled the piece “Idyll for Large Orchestra,” and much of it is peacefully idyllic. Even when the music swells ardently, as it does on several occasions, no storm threatens the pastoral feeling that prevails. Webern’s handling of his instrumental forces is impressively skilled, and his use of complex and unusual orchestral colors is even more so.

BornDecember 3, 1883, Vienna

DiedSeptember 15, 1945, Mittersill, Austria

First performanceMay 25, 1962, in Seattle, by the Philadelphia Orchestra, conducted by Eugene Ormandy

STL Symphony PremiereAugust 13, 1972, Andre Kostelanetz conducting the only previous performance

Scoring3 flutes2 oboesEnglish horn4 clarinetsbass clarinet2 bassoons6 horns2 trumpetstimpanipercussion2 harpsstrings

Performance Timeapproximately 12 minutes

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JOHANNES BRAHMS Schicksalslied (Song of Destiny), op. 54

OF GODS AND MORTALS Completed in 1871, Schicksalslied sets verses by the German poet Friedrich Hölderlin (1770-1843), verses inspired by the odes of classical antiquity. In his poem, Hölderlin compares the immortal existence of the gods with the lot of humankind. Our lives, he suggests, are driven by a cruel destiny in ways we cannot apprehend, so that we tumble “blindly from one hour to another.”

The poem’s sharply contrasted visions—the paradisiacal existence of the deities, and of the dire fate of mortals—suggested highly contrasted music. This Brahms provides. A quiet orchestral prologue sets the tone for the singers’ delivery of the opening stanza, creating a serene impression of untroubled life for the gods. But then, with a sudden outcry of angry orchestral sounds, the tone changes, growing anguished for the portion of the text that considers human destiny.

CLASSICAL SEVERITY, MODERN COMPASSION These very different visions, especially in the order in which they are set forth in Hölderlin’s poem, created a challenge for Brahms: not a musical challenge, per se, but what can properly be called an ethical dilemma. The poem’s narrative moves from bliss to desolation, from light to darkness, in emotional terms. Had Brahms ended with the piece where the last verse is sung, Schicksalslied would have closed on a note of sorrow and resignation. The composer evidently struggled to produce an alternative conclusion, at one time even repeating the choral singing of the first stanza. Hermann Levi, the conductor entrusted with the first performance, was privy to Brahms’s deliberations and advised him against that course. So in the end, the composer simply reprised the orchestral prologue, with its intimation of deep and tranquil rapture.

In doing this, Brahms changed, and even contradicted, the tone of Hölderlin’s poem. Brahms tempers the ancient world’s harsh vision of destiny with a compassionate, modern outlook.

First PerformanceOctober 18, 1871, in the German city of Karlsruhe, with Hermann Levi conducting

STL Symphony PremiereApril 16, 1972, with the University of Missouri Chorus, Walter Susskind conducting in Columbia, Missouri

Most Recent STL Symphony PerformanceJanuary 31, 1999, with the St. Louis Symphony Chorus, Maximiamo Valdés conducting

Scoringchorus of mixed voices2 flutes2 oboes2 clarinets2 bassoons2 horns2 trumpets3 trombonestimpanistrings

Performance Timeapproximately 18 minutes

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JOHANN STRAUSS, JR.Künstlerleben (Artist’s Life), op. 316

“AND THE WALTZES!” Solely on the evidence of Gesang der Parzen and Schicksalslied, one might conclude that Johannes Brahms was a dour personality with little use for worldly pleasures. In fact, quite the opposite was true. Brahms thoroughly enjoyed the diversions Vienna offered—its restaurants, its beautiful women and what was, during the time he lived there, its most popular pastime, the waltz. He greatly admired the waltzes of Johann Strauss, Vienna’s “Waltz King,” with whom he developed a warm friendship. “The evenings with Strauss!,” Brahms exulted in a letter. “And his wife! And the champagne! And the waltzes!”

That Brahms delighted in Strauss’s waltzes testifies to their musical merit. The “Waltz King” was a superb melodist, but his skill as a composer also included a sophisticated harmonic palette and knowing use of the orchestra. All these virtues inform the waltz titled Künstlerleben, or “Artist’s Life.” Strauss wrote this composition in 1867, immediately after completing what is widely considered his masterpiece, On the Beautiful Blue Danube, and it is of the same high quality as that work. Like On the Beautiful Blue Danube, Künstlerleben begins with an extended introduction that foretells several of the waltz melodies that follow. To create an even greater sense of compositional cohesion, Strauss concludes the work with a coda passage that revisits the signature first waltz melody.

BornOctober 25, 1825, Vienna

DiedJune 3, 1899, Vienna

First PerformanceUnknown, but almost certainly 1867, in Vienna, by the Johann Strauss Orchestra, under the composer’s direction

STL Symphony PremiereDecember 31, 1991, David Loebel conducting

Most Recent STL Symphony Performance August 20, 2004, Scott Parkman conducting

Scoringflutepiccolo2 oboes2 clarinets2 bassoons4 horns2 trumpets3 trombonestubatimpanipercussionstrings

Performance Timeapproximately 10 minutes

Max

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RICHARD STRAUSSDer Rosenkavalier Suite, op. 59

AN OPERATIC MASTERPIECE Only a handful of 20th-century works have gained a secure place in the operatic repertory, and only one of these can truly be called a comedy. That is Richard Strauss’s Der Rosenkavalier, an opera remarkable for the multi-layered telling of its story. On one level it is a romantic farce, a ribald succession of flirtations, secret encounters and mistaken identities. But its burlesque elements are balanced by more serious ones: strains of tenderness, nobility, poignancy, and wisdom.

Much of the opera’s psychological depth is achieved through the orchestra, which more than one analyst has described as a leading character in the drama. The orchestra comments upon the actions taking place on stage in a voice that is by turns mocking, affectionate and philosophical, and its brilliant string of waltzes and marches help convey the opulent atmosphere of old Vienna, where the story takes place.

FROM THEATER TO CONCERT HALL Shortly after the opera’s first performance, in 1911, Strauss arranged a set of “Rosenkavalier Waltzes” that proved instantly popular. He followed this with a second waltz set and, in 1945, an orchestral suite based on some of the opera’s finest music. The suite contains orchestral adaptations of the opera’s Introduction; the entrance of Count Octavian, in his guise as the Rose Cavalier, and his duet with the young ingénue, Sophie; a waltz associated with the boorish Baron Ochs; the trio from the closing scene; the final love duet; and a reprise of the waltz, which now takes on a robust, mocking quality, as the opera’s main characters celebrate the comeuppance of the lecherous Baron.

Program notes © 2013 by Paul Schiavo

BornJune 11, 1864, Munich

DiedSeptember 8, 1949, Garmish-Partenkirchen, Bavaria

First PerformanceSeptember 28, 1946, in Vienna, Hans Swarowsky conducted the Vienna Symphony Orchestra

STL Symphony PremiereNovember 15, 1946, Vladimir Golschmann conducting

Most Recent STL Symphony PerformanceOctober 27, 2001, Jun Märkl conducting

Scoring3 flutespiccolo3 oboesEnglish horn3 clarinetsE-flat clarinetbass clarinet3 bassoonscontrabassoon4 horns3 trumpets3 trombonestubatimpanipercussion2 harpscelestastrings

Performance Timeapproximately 22 minutes

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WARD STAREBLACKWELL SANDERS PEPER MARTIN GUEST CONDUCTOR

A native of Rochester, New York, Ward Stare made a successful Lyric Opera of Chicago debut in Humperdinck’s Hänsel und Gretel in January 2013. Stare completed his tenure as Resident Conductor of the St. Louis Symphony in 2012. In April 2009, he made his highly successful Carnegie Hall debut with the orchestra, stepping in at the last minute for Music Director David Robertson, who performed the role of chansonnier in H. K. Gruber’s Frankenstein!!. The 2010-11 season included Stare’s debut with the Norwegian National Opera in a new production of Britten’s The Rape of Lucretia. Future opera engagements include appearances at Opera Theatre of St. Louis and Stare’s return engagement with Lyric Opera of Chicago in 2014-15. Highlights of the 2011-12 season included being named Musician of the Month by Musical America in November 2011, and an invitation to participate in the prestigious Allianz Cultural Foundation’s 2012 International Conductors’ Academy. Over the course of four months, Stare worked intensively with both the London Philharmonic Orchestra and the Philharmonia culminating in Stare’s debut with the LPO in Royal Festival Hall in April 2012. Recent and upcoming engagements include the Atlanta Symphony, Houston Symphony, Québec Symphony, Dallas Symphony, and the Rochester Philharmonic Orchestra. Following in the path of many great orchestral conductors whose careers began as instrumentalists, Stare was trained as a trombonist at the Juilliard School in Manhattan. At the age of 18, he was appointed principal trombonist of the Lyric Opera of Chicago and has performed as an orchestral musician with the Chicago Symphony Orchestra and the New York Philharmonic, among others.

Ward Stare leads the St. Louis Symphony in a concert featuring the 1812 Overture at Powell Hall on June 8.

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AMY KAISERAT&T FOUNDATION CHAIR

One of the country’s leading choral directors, Amy Kaiser has conducted the St. Louis Symphony in Handel’s Messiah, Schubert’s Mass in E-flat, Vivaldi’s Gloria, and sacred works by Haydn and Mozart as well as Young People’s Concerts. She has made eight appearances as guest conductor for the Berkshire Choral Festival in Sheffield, Massachusetts, Santa Fe, and at Canterbury Cathedral. As Music Director of the Dessoff Choirs in New York for 12 seasons, she conducted many performances of major works at Lincoln Center. Other conducting engagements include concerts at Chicago’s Grant Park Music Festival and more than fifty performances with the Metropolitan Opera Guild. Principal Conductor of the New York Chamber Symphony’s School Concert Series for seven seasons, Kaiser also led many programs for the 92nd Street Y’s acclaimed Schubertiade. She has conducted over twenty-five operas, including eight contemporary premieres. A frequent collaborator with Professor Peter Schickele on his annual PDQ Bach concerts at Carnegie Hall, Kaiser made her Carnegie Hall debut conducting PDQ’s Consort of Choral Christmas Carols. She also led the Professor in PDQ Bach’s Canine Cantata “Wachet Arf” with the New Jersey Symphony. Kaiser has led master classes in choral conducting at Indiana University Jacobs School of Music, served as faculty for a Chorus America conducting workshop, and as a panelist for the National Endowment for the Arts. An active guest speaker, Kaiser teaches monthly classes for adults in symphonic and operatic repertoire and presents “Illuminating Opera” for four weeks in April at Opera Theatre of St. Louis. Amy Kaiser has prepared choruses for the New York Philharmonic, Ravinia Festival, Mostly Mozart Festival, and Opera Orchestra of New York. She also served as faculty conductor and vocal coach at Manhattan School of Music and the Mannes College of Music. An alumna of Smith College, she was awarded the Smith College Medal for outstanding professional achievement.

Amy Kaiser prepares the St. Louis Symphony for the season finale, Beethoven’s Symphony No. 9, May 9-12.

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Amy KaiserDirector

Leon Burke, IIIAssistant Director

Gail HintzAccompanist

Susan PattersonManager

Nancy Davenport Allison Rev. Fr. Stephan Baljian Stephanie A. Ball Nick Beary Rudi J. Bertrand Annemarie Bethel-Pelton Paula N. Bittle Jerry Bolain Michael Bouman Richard F. Boyd Keith Boyer Pamela A. Branson Bonnie Brayshaw Marella Briones Daniel P. Brodsky Buron F. Buffkin, Jr.Leon Burke, IIICherstin Byers Leslie Caplan Maureen A. Carlson Victoria Carmichael Mark P. Cereghino Jessica Klingler Cissell Rhonda Collins Coates Timothy A. Cole Derek Dahlke Laurel Ellison Dantas Deborah DawsonZachary DevinMary C. Donald Stephanie M. Engelmeyer Ladd Faszold Jasmine J. Fazzari

Heather Fehl Robin D. Fish, Jr.Alan Freed Mark Freiman Amy GarcésAmy Gatschenberger Lara Gerassi Megan E. Glass Susan Goris Karen S. Gottschalk Jacqueline Gross Susan H. Hagen Clifton D. Hardy Timothy HavisNancy J. Helmich Ellen Henschen Jeffrey E. Heyl Lori HoffmanMatthew S. Holt Allison Hoppe Heather Humphrey Kerry H. Jenkins Madeline Kaufman Jennifer KlauderElena Korpalski Paul V. Kunnath Kendra Lee Debby Lennon Gregory C. Lundberg Gina Malone Jamie Lynn Marble Jan Marra Lee Martin Alicia Matkovich Daniel Mayo Rachael McCreery Elizabeth Casey McKinney Scott Meidroth Claire MinnisBrian Mulder Johanna Nordhorn Duane L. Olson Nicole Orr Heather McKenzie Patterson Susan Patterson

ST. LOUIS SYMPHONY CHORUS 2012-2013

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Matt Pentecost Brian Pezza Shelly Ragan Pickard Sarah Price Valerie Reichert Kate Reimann David Ressler Gregory J. Riddle Patti Ruff Riggle Stephanie Diane Robertson Terree Rowbottom Paul N. Runnion Jennifer Ryrie Susan Sampson Patricia Scanlon Mark V. Scharff Samantha Nicole Schmid Paula K. Schweitzer Lisa Sienkiewicz Janice Simmons-Johnson John William Simon Charles G. Smith Shirley Bynum Smith

Joshua Stanton Adam Stefo David Stephens Benna D. Stokes Greg Storkan Maureen Taylor Michelle D. Taylor Justin Thomas Natanja Tomich Pamela M. Triplett David R. Truman Greg Upchurch Robert Valentine Kevin Vondrak Samantha Wagner Nancy Maxwell WaltherKeith Wehmeier Nicole C. Weiss Dennis Willhoit Paul A. Williams Mary Wissinger Susan Donahue Yates Carl S. Zimmerman

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St. Louis Symphony Chorus

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GESANG DER PARZEN

Es fürchte die GötterDas Menschengeschlecht!Sie halten die HerrschaftIn ewigen Händen,Und können sie brauchenWie’s ihnen gefällt.

Der fürchte sie doppelt,Den je sie erheben!Auf Lippen und WolkenSind Stühle bereitetUm goldene Tische.

Erhebet ein Zwist sich,So stürzen die Gäste,Geschmäht und geschändet,In nächtliche Tiefen,Und harren vergebens,Im Finstern gebunden,Gerechten Gerichtes.

Sie aber, sie bleibenIn ewigen FestenAn goldenen Tischen.Sie schreiten vom BergeZu Bergen hinüber.

Aus Schlünden der TiefeDampft ihnen der AtemErstickter Titanen,Gleich Opfergerüchen,Ein leichtes Gewölke.

Es wenden die HerrscherIhr segnendes AugeVon ganzen Geschlechtern,Und meiden, im EnkelDie ehmals geliebten,Still redenden ZügeDes Ahnherrn zu sehn.

So sangen die Parzen;Es horcht der VerbannteIn nächtlichen Höhlen,Der Alte, die Lieder,Denkt Kinder und EnkelUnd schüttelt das Haupt.

SONG OF THE FATES

The human raceshould fear the gods.They hold the powerin their eternal hands,and can use itas they please.

Any whom they exaltshould fear them doubly!On cliffs and cloudsthrones stand readyaround golden tables.

If dissension arises,then the guests are hurled down,despised and disgraced,into the nocturnal depths,and they wait there in vain,bound in darkness,for just judgement.

The gods, however, continuethe eternal feastsat the golden tables.They stride over mountainsfrom peak to peak.

From the abysses of the deepthe breath of suffocated Titanssteams up to themlike scents of sacrifices,a light cloud.

The rulers averttheir blessing-bestowing eyesfrom entire races,and avoid seeing, in the grandchild,the once loved,silently speaking featuresof the ancestor.

Thus sang the Fates.The old, banished onelistens to the songsin his nocturnal caverns,thinks of his children and grandchildren,and shakes his head.

GESANG DER PARZENBY JOHANN WOLFGANG VON GOETHE

--Translation by Ron Jeffers and Gordon Paine

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SCHICKSALSLIED

Ihr wandelt droben im LichtAuf weichem Boden, selige Genien!Glänzende GötterlüfteRühren Euch leicht,Wie die Finger der KünstlerinHeilige Saiten.

Schicksallos, wie der schlafendeSäugling, atmen die Himmlischen:Keusch bewahrtIn bescheidner KnospeBlühet ewigIhnen der Geist;Und die seligen AugenBlicken in stiller,Ewiger Klarheit.

Doch uns ist gegebenAuf keiner Stätte zu ruhn:Es schwinden, es fallenDie leidenden MenschenBlindlings von einerStunde zur andern,Wie Wasser von KlippeZu Klippe geworfen,Jahrlang ins Ungewisse hinab.

SONG OF DESTINY

Ye walk on high in light,upon soft ground, ye spirits blest!Gleaming breezes divinelightly stir you,as the artist’s fingers stirthe sacred harp strings.

Free from Fate, like a sleeping babe,the heavenly ones draw their breath:chastely guardedin its modest bud,their spiritblooms for ever;and their hallowed eyesgaze in calmeternal clearness.

But to us it is givento find rest nowhere:suffering mankinddies away and fallsblindly fromone hour to the next,like water hurledfrom rock to rock,year in, year out, down into the unknown.

SCHICKSALSLIED BY FRIEDRICH HÖLDERLIN

--Translation by Sir Donald Francis Tovey

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TAXI PICK UPDELMAR

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TICKET LOBBY

CUSTOMERSERVICE

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WOMEN’S RESTROOM

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BAR SERVICES

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FAMILY RESTROOM

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