st. louis symphony program - nov. 16-18, 2012

7/30/2019 St. Louis Symphony Program - Nov. 16-18, 2012

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CONCERT PROGRAMNovember 16-18, 2012

Andrey Boreyko, conductorVadim Gluzman, violin

TCHAIKOVSKY Voyevoda, Symphonic Ballad after Mickiewicz (1890-91) (1840-1893)

TCHAIKOVSKY Violin Concerto in D major, op. 35 (1878) Allegro moderatoCanzonetta: AndanteFinale: Allegro vivacissimo

Vadim Gluzman, violin

INTERMISSION

TCHAIKOVSKY Symphony No. 1 in G minor, op. 13, Winter Dreams (1866, rev. 1874) Dreams o a Winter Journey: Allegro tranquillo

Land o Gloom, Land o Mist: Adagio cantabile ma non tantoScherzo: Allegro scherzando giocosoFinale: Andante lugubre; Allegro maestoso

Andrey Boreyko is the Daniel, Mary, and Francis OKeefe Guest Artist.

Vadim Gluzman is the Ann and Paul Lux Guest Artist.

The concert of Friday, November 16, is underwritten in part by a generous gift from Mrs.Beatrice Rothberg.

The concert of Saturday, November 17, is underwritten in part by a generous gift from Mr. andMrs. Peter M. Miller.

The concert of Sunday, November 18, is underwritten in part by a generous gift from Mr. andMrs. Ted W. Beaty.

These concerts are presented by Thompson Coburn.

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 arelocated at the Customer Service table in the foyer.


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TIMELINKS

1874TCHAIKOVSKYSymphony No. 1 in Gminor, op. 13,Winter Dreams

Johann Strauss, Jrs operaDie Fledermausproduced in Vienna

1878TCHAIKOVSKYViolin Concerto inD major, op. 35Russo-Turkish war ends,

with Ottoman Empirelosing signicantterritories

1890-91TCHAIKOVSKYVoyevoda, SymphonicBallad after MickiewiczAnton Chekhov visits the

Russian penal colony atSakhalin

This weekends St. Louis Symphony concerts

present a program devoted entirely to music byTchaikovsky. The Russian composer is hardlyunknown to present-day concertgoers. HisballetsSwan Lake, The Sleeping Beauty, andespecially that perennial xture of the Christmasseason, The Nutcrackerare widely familiar. Andorchestral pieces such as his B-at minor PianoConcerto and the 1812 Overture have reachedmany listeners apart from regular symphony

audiences. The appeal of these and other ofTchaikovskys works is understandable. I write,the composer once told a correspondent, so thatI may pour my feelings into my music. Whetherconveying tragic sentiments or joyous ones,melancholy, or dreamy rapture, Tchaikovskybrought greater intensity of feeling to his workthan nearly any other composer, which goes far

in explaining the enduring appeal of his music.Our program includes the rst andprobably the least known of the composerssix symphonies, as well as a rarely-played piecebased on a spooky verse story. Between these twoworks we hear the composers Violin Concerto,one of the great works of its kind.

PYOTR ILYICH TCHAIKOVSKYVoyevoda, Symphonic Ballad after Mickiewicz

A STORY OF JEALOUSY AND DEATH Tchaikovskycomposed Voyevoda in 1890 after reading anarrative poem of the same title by the Polishpoet Adam Mickiewicz (1798-1855). Polandsprincipal representative of Romanticism inliterature, Mickiewicz wrote plays, novels, andother large works. But he also penned a number ofverse ballads, many imbued with Romantic irony.(His admiring compatriot, Fryderyk Chopin,based his superb Ballades for solo piano on fourof these stories.) Tchaikovsky read MickiewiczsThe Voyevoda in a Russian translation by hisrevered Pushkin.

TCHAIKOVSKYS ENDURING APPEALBY PAUL SCHIAVO


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The poems title refers to a provincialgovernor and military commander. InMickiewiczs tale, this Voyevoda returns homefrom war to discover his wife in their gardenwith a lover. Handing a rie to his servant, the

Voyevoda instructs him to aim it at his rival whilehe goes to surprise the couple from the other sideof the garden. The gun res. But instead of theyoung lover, it is the Voyevoda himself who fallsdead. Mickiewicz leaves uncertain whether theservant misred or deliberately killed his master.

Like his Romeo and Juliet Fantasy-Overture,Tchaikovskys symphonic ballad does not

attempt a musical recounting of the entire storyon which it is based. Instead, the composerrenders only a few key episodes. The initialsection clearly suggests the Voyevoda gallopinghome and is heavy with intimations of tragedy.A central episode brings love music, initiallydream-like but growing quite ardent. Thebrief nal passage evokes the ballads grimconclusion. Upon completing this composition,

Tchaikovsky wrote to his brother Anatoly thatIm very pleased with it. But after hearing themusic, the highly self-critical composer changedhis mind and resolved to do away with the work.He destroyed the score, but the orchestral partssurvived, allowing Voyevoda to be reconstructedafter his death.

PYOTR ILYICH TCHAIKOVSKYViolin Concerto in D major, op. 35

SPIRITS RESTORED Tchaikovsky composedhis Violin Concerto in the spring of 1878,immediately after completing his shatteringSymphony No. 4. That latter work reected theharrowing emotional crisis brought on by the

composers hasty and ill-considered marriage toa young conservatory student the year before.Their union was brief and disastrous; withinweeks, Tchaikovsky suffered an almost completenervous collapse and attempted suicide. He savedhimself by eeing to Switzerland but emergedshaken and convinced that he was destined toa life of torment. The Symphony No. 4, with itsominous fate theme and intimations of doom,

BornMay 7, 1840, Kamsko-

Votkinsk, RussiaDiedNovember 6, 1893, St.Petersburg

First PerformanceNovember 18, 1891, inMoscow, conducted by thecomposer

STL Symphony PremiereJanuary 27, 1990, LeonardSlatkin conducting the onlyprevious perormance

Scoring3 futes2 oboesEnglish horn2 clarinetsbass clarinet2 bassoons4 horns2 trumpets3 trombonestubatimpanipercussionharpcelestastrings

Performance Timeapproximately 10 minutes


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was by the composers own account, a musicalexpression of this belief.

Perhaps the creation of the Symphony No.4 had a cathartic and consequently therapeuticeffect on Tchaikovsky. In any case, the Violin

Concerto reveals no sense of the anguish andstruggle that characterize the symphony. Indeed,Tchaikovskys spirits seem to have been fullyrestored when he wrote to a correspondent ofhis work on the concerto: The rst movement ofthe Violin Concerto is ready; tomorrow I beginthe second. From the day I began to write it [a]favorable mood has not left me. In such a spiritual

state composition loses all aspect of workit is acontinuous delight.

MELODY AND VIRTUOSITY Tchaikovskysfavorable mood is apparent throughout theconcertos rst movement. Following a brieforchestral preamble, the featured instrumentpresents the movements principal themes.In light of Tchaikovskys famous talent as a

melodist, it goes almost without saying that theseare attractive and richly expressive ideas. Theirdevelopment during the course of the movementcalls for some formidable technical feats on thepart of the soloist; the exceptionally musicalcadenza is Tchaikovskys own.

Tchaikovskys brother, Modest, wasdissatised with the original slow movementand persuaded the composer to discard it.Tchaikovsky replaced it with the presentCanzonetta, reportedly composed in a singleday. It is introduced by a pensive phrase in thewoodwinds, which is then taken up by the soloviolin and spun into a long melody that suggestsromantic, melancholy dreaming. A skillfullycomposed transition passage leads withoutpause to the nale.

First PerformanceDecember 4, 1881, in Vienna;Adol Brodsky was thesoloist, and Hans Richterconducted the ViennaPhilharmonic Orchestra

STL Symphony PremiereJanuary 21, 1909, Mischa Elmanwas soloist, with Max Zachconducting

Most Recent STL SymphonyPerformanceSeptember 19, 2010, JoshuaBell was soloist, with DavidRobertson conducting

Scoringsolo violin2 futes2 oboes2 clarinets2 bassoons4 horns2 trumpetstimpanistrings



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PYOTR ILYICH TCHAIKOVSKYSymphony No. 1 in G minor, op. 13, Winter Dreams

A STRUGGLE TO CREATE In January 1866,Tchaikovsky moved from St. Petersburg, where

he had just nished his musical studies, and tookup residence in Moscow. There he had a meagerlysalaried post as a teacher of harmony at a newlyformed music school that would eventuallybecome the Moscow Conservatory. Socially ill atease and unsure of his artistic ability, Tchaikovskysuffered bouts of nervousness, depression,and insomnia during his rst year in Moscow.To make matters worse, he was sharing a atwith Nicolay Rubinstein, director of the schoolwhere he taught. Although a brilliant musician,Rubinstein led a somewhat dissolute life, andTchaikovsky found it difcult not to join him indrinking bouts and other forms of dissipation.

All this threw difculties in the path ofTchaikovskys major creative project for the year,a symphony that he began writing shortly after he

arrived in Moscow. In April the composer wrotethat he was working daily on this piece but [it]is not getting on very well. His efforts to shapethe piece continued through the summer, butby August the symphony still was not complete.And when he showed what he had nished to apair of his former teachers at the St. PetersburgConservatory, they rendered a harsh verdict andrefused to recommend the work for performance.

Chastened, Tchaikovsky set about revisingand nishing his symphony in accordancewith their critique. He completed this task inNovember but more than a year passed before thesymphony received a complete performance. Thistook place in Moscow in February 1868, at whichtime the audience gave the music an enthusiasticreception. In 1874 Tchaikovsky substantially

revised the composition, but this new versionhad to wait until December 1883 for its rstperformance. At that time, Tchaikovsky wroteaffectionately of the piece, stating that althoughit is in some ways immature, yet fundamentallyit has more substance and is better than many ofmy other more recent works.

Program notes 2012 by Paul Schiavo

First PerformanceFebruary 15, 1868, rstcomplete perormance, inMoscow, Nicolay Rubinsteinconducting the Russian MusicSociety / December 1, 1883,

revised version, in MoscowSTL Symphony PremiereMay 17, 1973, Walter Susskindconducting

Most Recent STL SymphonyPerformanceJanuary 7, 2001, Hans Vonkconducting

Scoring2 futespiccolo2 oboes2 clarinets2 bassoons4 horns2 trumpets3 trombonestubatimpani

percussionstrings



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ANDREY BOREYKODANIEL, MARY, AND FRANCIS OKEEFE GUEST ARTIST

Andrey Boreyko is Music Director of the DsseldorferSymphoniker and Principal Guest Conductor ofthe Orquesta Sinfonica de Euskadi San Sebastian in

Spain. He also recently began his position as ChiefConductor of Orchestre National de Belgique. Born inSt. Petersburg, Boreyko received his musical educationat his hometowns conservatory, where he graduatedin conducting and composition.

Previous appointments include First GuestConductor of the Radio-SinfonieorchesterStuttgart (2004-12), Chief Conductor of the BernerSymphonieorchester, Poznan Philharmonic Orchestra,Jenaer Philharmonie (which appointed him HonoraryConductor), Hamburger Symphoniker, and theWinnipeg Symphony Orchestra, as well as PrincipalGuest Conductor of the Vancouver Symphony.

In 2011 Yarlung Records published a CD withBoreyko conducting the Los Angeles Philharmonicand Martin Chalifour performing the violin concertoChain 2 by Witold Lutosawski.

In the coming seasons Boreyko will again conductorchestras in New York, Philadelphia, Los Angeles,

Seattle, and Rotterdam.

VADIM GLUZMANANN AND PAUL LUX GUEST ARTIST

Israeli violinist Vadim Gluzmans 2012-13 seasonbegan with his debut at the BBC Proms in London,followed by appearances with, among others, the RoyalScottish National Orchestra, Czech Philharmonic,

Deutsches Symphonie-Orchester Berlin, Orchestrede la Suisse Romande, as well as the Seattle, Atlanta,San Antonio, and Vancouver symphonies. Gluzmanalso gives recitals in New York City presented by thevenerable Peoples Symphony Concerts and in Paris atthe Thtre de la Ville.

Born in the former Soviet Union in 1973,Gluzman began violin studies at age seven. Beforemoving in 1990 to Israel, where he was a student ofYair Kless, he studied with Zakhar Bron in Russia. Inthe U.S. his teachers were Arkady Fomin and, at theJuilliard School, the late Dorothy DeLay and MasaoKawasaki. Early in his career, Gluzman enjoyed theencouragement and support of Isaac Stern, and in1994 he received the prestigious Henryk SzeryngFoundation Career Award. Gluzman plays theextraordinary 1690 ex-Leopold Auer Stradivari, onextended loan to him through the generosity of theStradivari Society of Chicago.

Andrey Boreyko makes his St.Louis Symphony debut with

these concerts.

Vadim Gluzman debuts withthe St. Louis Symphony thisweek.

Marco

Borggreve


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CONCERT PROGRAMNovember 16, 2012

St. Louis Symphony Youth Orchestra

Steven Jarvi, conductor

MENDELSSOHN The Hebrides (Fingals Cave), op. 26 (1832) (1809-1847)

BERNSTEIN Symphonic Suite from On the Waterfront (1955)

(1918-1990) Andante (with dignity); Presto barbaro; Adagio; Allegromolto agitato; Presto come prima

Andante largamente; Lento; Moving orward, with warmthAndante come prima; Allegro non troppo, molto marcato;

Poco pi sostenuto; A tempo

INTERMISSION

SIBELIUS Symphony No. 2 in D major, op. 43 (1901-02) (1865-1957) Allegretto

Tempo Andante, ma rubatoVivacissimoFinale: Allegro moderato

The St. Louis Symphony Youth Orchestra is supported by a grant from theG. A., Jr. and Kathryn M. Buder Charitable Foundation.


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TIMELINKS

1832MENDELSSOHNThe Hebrides (FingalsCave), op. 26Charles Darwin travels

aboard the HMS Beagle

1955BERNSTEINSymphonic Suite from Onthe WaterfrontMarian Andersonbecomes rst Arican-American singer to

perorm with theMetropolitan Opera

1901-02SIBELIUSSymphony No. 2 in Dmajor, op. 43Anton Chekhovs playThree Sisters premieres

in Moscow

PROGRAM NOTESBY REN SPENCER SALLER

FELIX MENDELSSOHNThe Hebrides (Fingals Cave), op. 26

ANOTHER MOZART Felix Mendelssohn made themost of his brief charmed life. His wealthy parentsensured that he had the nest possible education,and they even turned their Berlin mansion intoa concert hall twice a month, burnishing theiryoung sons reputation as a musical prodigy. In1821, when Mendelssohn was 12 years old, he

met the elderly Goethe, who rhapsodized aboutthe boys genius: What [Mendelssohn] alreadyaccomplishes bears the same relation to theMozart of that time that the cultivated talk of agrown-up person bears to the prattle of a child.A year later, the poet and critic Heinrich Heinereferred to him as a musical miracle [who] couldbecome a second Mozart. Before young Felix wasout of his teens, he had completed approximatelyone hundred compositions, including operas,quartets, concertos, and a magnicent octet forstrings; at 20, he had already written his famousoverture after ShakespearesA Midsummer NightsDream and conducted Bachs St. Matthew Passionto great acclaim.

A SCOTTISH SEASCAPE In the spring of 1829,

Mendelssohn was invited to England forseveral high-prole engagements. After theconcert season, he left for Scotland and beganhis Symphony No. 3, Scottish. In August hetraveled with a friend to Staffa, an island in theHebrides archipelago, to visit Fingals Cave, apopular tourist attraction. Although the roughjourney made him horribly seasick, inspirationstruck. In a note to his sister that evening, he

wrote, In order to make clear to you what astrange mood came over me in the Hebrides, thefollowing just occurred to me. Enclosed weresome twenty measures of what we now know asThe Hebrides (or sometimes by its alternate title,Fingals Cave). Over the next two years, while hevisited Italy and worked on various other musicalprojects, he returned to the piece periodically but


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BornFebruary 3, 1809, Hamburg

DiedNovember 4, 1847, Leipzig

First PerformanceMay 14, 1832, in London,conducted by the composer

YO PremiereMarch 23, 2001, David Amadoconducting the only previousYO perormance

Scoring2 futes2 oboes2 clarinets2 bassoons2 horns2 trumpetstimpanistrings


Bartholdy

found it difcult to nish. He complained in aletter that the development passage tastes moreof counterpoint than of whale oil and seagullsand cod-liver oil, and it ought to be the other wayaround. Finally, after discarding two drafts and

the original title (The Lonely Island), he wassatised. The Hebrides was premiered on May 14,1832, in London.

The Hebrides comprises two contrastingthemes that combine to create a maritime tonepoem. The rst theme, an undulant descendinggure articulated by violas, cellos, andbassoons, is repeated over and over, mimicking

the rise and fall of the waves as they resonateagainst the walls of the cave. The second theme,initially voiced by cellos and bassoons and thenreiterated by a solo clarinet, suggests the rollingtide, the lashing wind, the mounting turbulenceof the water against the rugged cave. As thethemes are developed and elaborated, surgingand subsiding from a bed of murmuringarpeggios, the rhythms clash; a tempest erupts;

the sea batters the stalwart island. The codasustains the tumult briey, underscoring themajestic fury of the storm, and ends with atranquil reprise of the opening theme, a distantecho from the receding shore.

LEONARD BERNSTEINSymphonic Suite fromOn the Waterfront

BERNSTEIN IN HOLLYWOOD In 1954, when hewas 36 years old, the composer and conductorLeonard Bernstein received a commission toscore a new lm by Elia Kazan, On the Waterfront,a gritty drama about star-crossed lovers andwarring stevedores in postwar New York. Afterdeclining the offer, Bernstein, who had never

before composed an original lm score, saw arough cut of the movie and changed his mind.He took a leave of absence from his teachingposition at Brandeis University and spent threemonths in Hollywood, painstakingly crafting asymphonic structure, scene by scene, to bolsterthe lms emotional trajectory.

Bernstein was not bedazzled by Tinseltown,to put it mildly. Hollywood is exactly as I


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BornAugust 25, 1918, Lawrence,

MassachusettsDiedOctober 14, 1990, New YorkCity

First PerformanceAugust 11, 1977, atTanglewood, Bernsteinconducted the BostonSymphony Orchestra

YO PremiereThis concert

Scoring2 futesPiccolo2 oboes2 clarinetsE-fat clarinetbass clarinet2 bassoonscontrabassoonalto saxophone4 horns3 trumpets3 trombonestubatimpanipercussionharppiano

strings


expected it, only worse, he wrote in a letter toAaron Copland. He further described his dismayin his bookThe Joy of Music: I thought [the lm]a masterpiece of direction, and Marlon Brandoseemed to me to give the greatest performance I

had ever seen him give, which is saying a gooddeal. I was swept away by my enthusiasm intoaccepting the commission to write the score,although I had thereto resisted all such offers onthe grounds that it is a musically unsatisfactoryexperience for a composer to write a score whosechief merit ought to be its unobtrusiveness.Although he understood the constraints of the

medium (I had to keep reminding myself that it isreally the least important part, that a spoken linecovered by music is a line lost and not necessarilya loss to the picture),he still found the editingprocess demoralizing: The composer sits by,protesting as he can, but ultimately accepting, beit with a heavy heart, the inevitable loss of a goodpart of his score. Everyone tries to comfort him.You can always use it in a suite. Cold comfort.

Although the nished score was nominated for anAcademy Award, Bernstein was so disillusionedby the experience that he never accepted anotherlm commission. (The scores for the movies Onthe Town and West Side Story were adapted fromthe Broadway stage productions.)

THE COMPOSERS TRIUMPH Bernstein took hiscomfort where he could, however, and in 1955he recongured his score for On the Waterfrontinto a continuous 20-minute symphonic suite.Its three sections, performed without pause, inBernsteins words, follow as much as possiblethe chronological ow of the lm itself. Uniedby the melancholy horn melody that opens thework and serves as a recurrent leitmotiv for thebattered but unbowed hero, Terry (Brandos

character), the suite is by turns tender andmournful, agitated and brutal. A ferocious,percussion-heavy Presto barbaro sectiondramatizes the dehumanizing dock work and theinevitable eruptions of violence; in the Andantelargamente, a delicate love theme sung by uteand harp evokes Terrys lover, Edie (played byEva Marie Saint). The scherzo-like Allegro nontroppo, by turns frenetic and somber, is followed


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by a yearning recapitulation of the opening theme, a tting conclusion to aclassic tale of loss and redemption. But even with no knowledge of the plot,Bernsteins Symphonic Suite from On the Waterfront stands on its own as aneloquent tribute to the American melting pot: a frantic, mercurial, sordid, andsublime pastiche of European classical conventions and American jazz.

JEAN SIBELIUSSymphony No. 2 in D major, op. 43

A HEAVENLY MOSAIC Jean Sibelius is hard topigeonhole. Was he a staunch conservative, whosedevotion to Romantic tonality put him at odds

with the nascent Modernists? The critic VirgilThomson thought so, describing his SymphonyNo. 2, nearly 40 years after its Helsinki premiere,as vulgar, self-indulgent, and provincial beyondall description. Was Sibelius a nationalistcomposer, whose overtly patriotic works earnedhim a generous government stipend for the betterpart of his life? Was he more daring than bothfans and detractors assumed, subtly subverting

symphonic conventions for his own expressivepurposes? In 1900, his countryman Karl Flodinasserted that in reality he composes for at leasta generation ahead. More recently, scholarshave noted the ways in which Sibelius deesthe expectations of the sonata form, his afnityfor brief, almost fragmentary motives in the rstmovement that cunningly connect and coherein the development section, only to shatterunexpectedly where they would normally unite.Describing his compositional method, Sibeliuswrote, It is as though the Almighty had thrownthe pieces of a mosaic down from the oor ofheaven and told me to put them together.

THE POLITICAL AND THE PERSONAL Partisansfrom all sides can nd much to debate in

Sibeliuss Second Symphony. An immediatesuccess in the composers homeland, it washailed as a Symphony of Independence, adeant rebuke to Tsarist Russia in response torecent sanctions. After all, it was completed a meretwo years after the fervently patriotic Finlandia,and the composers political convictions werewell known; several of his previous works hadbeen censured by the authorities for inciting the

BornDecember 8, 1865,Hmeenlinna, Finland

DiedSeptember 20, 1957,Jrvenp, Finland

First PerformanceMarch 8, 1902, in Helsinki;the composer conductedthe Helsinki PhilharmonicOrchestra

YO Premiere

May 5, 1996, David Loebelconducting

Most RecentYO PerformanceMarch 15, 2002, David Amadoconducting

Scoring2 futes2 oboes2 clarinets2 bassoons4 horns3 trumpets3 trombonesTubaTimpanistrings



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populace. His favorite conductor, Robert Kajanus, understood the Secondas the most broken-hearted protest against all the injustice that threatens atthe present time, while simultaneously acknowledging condent prospectsfor the future. However, the bulk of the symphonys themes were writtenduring a vacation in Italy, and some were originally intended for a tone poem

based on Dantes Divine Comedy. Sibelius himself rejected all programmaticinterpretations of the completed work, describing it in more personal terms asa struggle between death and salvation and a confession of the soul.

THE NATURAL SUBLIME Whatever the composers intentions, Sibeliuss Secondhas enthralled listeners for a century. Rife with pastoral elements, it conjuresnot so much a specic landscapeneither Scandinavian nor Mediterraneanas the elemental energies of the natural world. Opening with eight measures of

pulsing chords, the rst movement presents various thematic shards: a folkishmelody from the woodwinds, a plangent oboe, and an explosion of brass thatexpands, contracts, and expands again. The second movement starts witha timpani roll, pizzicato strings, and a tentative bassoon before settling intoa leisurely lyricism; peaceful passages build to passionate climaxes, and asprightly ute gives way to anxious strings and strident woodwinds. Echoesof the opening chords emerge in the third movement, a sparkling scherzo,revealing aspects of the theme in violin runs and a tender oboe melody. Atwice-repeated trio precedes a bridge, which segues ingeniously, without

pause, into a nale that begins in an elegiac vein and gradually intensies to anecstatic climax. Heavens oor reveals its indelible pattern; the celestial mosaicis complete.

Program notes 2012 by Ren Spencer Saller


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STEVEN JARVI

Praised for his uncommonly expressive anddetailed performances by the Miami Heraldand described as an eloquent and decisive

conductor by the Wall Street Journal, Steven Jarviis recognized as one of Americas fastest risingconductors with an equal passion for the concerthall and the opera house. Jarvi is the MusicDirector of Winter Opera Saint Louis and wasformerly the Associate Conductor of the KansasCity Symphony (KCS) for four seasons. A winnerof the Bruno Walter Memorial Foundation Award,he came to the KCS after several years as theConducting Fellow with Michael Tilson Thomasand the New World Symphony in Miami Beach,as an Associate Conductor for the New York CityOpera at Lincoln Center, and as the ApprenticeConductor with the Washington National Operaat the Kennedy Center in Washington D.C.

As the Associate Conductor of the KansasCity Symphony, Jarvi led over 150 performances

including the Family, Young Peoples, Education,and Pops series, Handels Messiah, selectedclassical performances and the popularSymphony in the Flint Hills. In his rst seasonwith the KCS, he made his Classical Seriesdebut after lling in on short notice with violinstMidori, as Music Director Michael Stern awaitedthe birth of his second child. He returned thefollowing season, after studying in Vienna withprincipal members of the Vienna Philharmonic,conducting a highly praised subscriptionweekend of Viennese music featuring pianistSimone Dinnertstein.

Raised in Grand Haven, Michigan, StevenJarvi holds a Bachelors degree in Music Theoryfrom the University of Michigan where he studiedwith Kenneth Kiesler, Martin Katz, and Jerry

Blackstone, along with a Masters in OrchestralConducting from the Peabody Institute of JohnsHopkins University, where he studied with thelegendary conducting pedagogue, Gustav Meier.

Steven Jarvi received theprestigious Bruno Walter

Memorial Foundation Award.


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FIRST VIOLINSVirginia DoyleConcertmaster

Christopher GoesslingCo-AssistantConcertmasterHava PolinskyCo-AssistantConcertmasterMaggie AnHannah Hart

Julia (Geeo) SonJohn Li

Rachelle FergusonCaroline Cordell

Will CrockAmanda CaoThomas JohnsonSam Lord

Aisling OBrienAlan Rasheed

SECOND VIOLINS

Matthew SpraguePrincipalAnthony SuAssistant PrincipalGajan Kumar

Aidan IpEmily Xu

Jonathan KarpKatelyn HamreHaohang Xu

Elizabeth CordellRebecca LiuCherry Tomatsu

Alan LuSarah Kovich

VIOLASSean ByrnePrincipalDaniel Larson

Assistant PrincipalAndrew StockMarisa McKeegan

Anne BewigBrett ShockerMeredith McMahonEunnuri YiSharanya Kumar

CELLOSSean HamrePrincipal

Alex GroeschMargaret MadsenGrant RiewEric Cho

Joanne LeeJoshua HartJulie HolzenDylan Lee

Ann Ryu

DOUBLE BASSESToni SaputoPrincipalBria Robinson

Assistant PrincipalRyan WahidiPhillip Sansone

Annamarie PhillipsJohn Paul ByrneAndie Barnett

Justus SchriedelHARPKatie Hill

FLUTESShiori TomatsuPrincipalKaitlyn PostulaRachel Petzoldt

PICCOLO

Rachel Petzoldt

OBOESEthan LeongPrincipalMackenzie BrazierLauren Claire White

ENGLISH HORNLauren Claire White

CLARINETSEarl KovacsPrincipalEmily Spaugh

Aleksis MartinStephanie Uhls

E-FLAT CLARINETAleksis Martin

BASS CLARINETStephanie Uhls

BASSOONS

David CarterPrincipal

Alex DaviesJoseph HendricksCraig Butler

CONTRABASSOONCraig Butler

ALTO SAXOPHONEZachary Nenaber

HORNSRachael HutsonMatthew BlochIrene HenryKaia Cosgriff

Allison Gacioch

TRUMPETSCharles PragerPrincipal

Dustin ShrumJulia Tsuchiya-MayhewGarrett L. Thomas

TROMBONESMichael McBridePrincipalBrett LindsayCarter Stephens

BASS TROMBONE

Carter Stephens

TUBAJames J. Fritz

KEYBOARDINSTRUMENTSMatt Pankratz

PERCUSSION/TIMPANIRyan Firth

Brandon LeeJoshua LuthyTim PadgettThomas StubbsGuest artist

STL SYMPHONYCOACHESDana Edson Myers

Violin IShawn WeilViolin IIChris TantilloViolaDavid KimCelloDavid DeRisoDouble Bass

Andrea Kaplan

FluteCally BanhamOboeTina WardClarinetFelicia FolandBassoon

Julia ErdmannRoger KazaHornThomas DrakeTrumpet

Vanessa FralickTrombone/Tuba

William JamesThomas StubbsPercussion/Timpani

MUSIC LIBRARYElsbeth Brugger

Henry SkolnickRoberta Gardner

STAGE STAFFBruce MourningStage Manager

Joseph ClapperAssistant Stage ManagerJoshua RiggsStage Technician

Jeffrey Stone

MANAGERJessica Ingraham

ST. LOUIS SYMPHONY YOUTH ORCHESTRA 2012-2013


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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

st. louis symphony program - nov. 16-18, 2012

Documents