st. louis notes

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MONDAY, MARCH 18, 2013, 8PM Pre-concert lecture by Christopher Russell, 7pm Segerstrom Center for the Arts Renée and Henry Segerstrom Concert Hall st. louis symphony DaviD RobeRtson, conDuctoR maRk spaRks, flute Don Juan, Op. 20 (1888-89) Richard STRAUSS (1864-1949) Flute Concerto (1993) Christopher ROUSE (b. 1949) Amhrán Alla marcia Elegia Scherzo Amhrán Mark Sparks, flute - INTERMISSION - Till Eulenspiegel’s lustige Streiche Richard STRAUSS (Till Eulenspiegel’s Merry Pranks) (1864-1949) Op. 28 (1894-95) Symphonie Mathis der Maler Paul HINDEMITH (Matthias the Painter) (1933-34) (1895-1963) Engelkonzert (Angelic Concert) Grablegung (Entombment) Versuchung des heiligen Antonius (Temptation of St. Anthony) Programs, artists and dates subject to change. Photographing or recording this performance without permission is prohibited. Kindly disable pagers, cellular phones and other audible devices. Exclusive Print Sponsor STRAUSS: DON JUAN, OP. 20 Born: June 11, 1864, in Munich Died: September 8, 1949, in Garmisch-Partenkirchen, Bavaria First Performance: November 11, 1889, in Weimar, conducted by the composer Scoring: 3 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, strings Performance Time: approximately 17 minutes THE LOVER AS ROMANTIC HERO Richard Strauss initially gained widespread attention in the 1880s with a series of remarkable tone poems, orchestral pieces based on dramatic or literary ideas. The first to achieve unqualified success was Don Juan. Strauss found his inspiration for the piece in a verse fragment by the Austrian writer Nikolaus Lenau. In that work, which Lenau left unfinished at his death in 1851, the poet transforms the Don Juan legend as the story of an archetypal Romantic hero. Instead of the cruel seducer we find in other versions of his story, Lenau’s Don is a dreamer driven on an impossible pur- suit of ideal beauty. “That magical circle, immeasurably wide, of beautiful femininity,” he declares in Lenau’s verses, “I want to traverse in a storm of pleasure, and die of a kiss upon the lips of the last woman.” Lenau’s text inspired Strauss to a bold and original flight of musical fantasy. The composer offered no spe- cific program, no written narrative, for Don Juan, though it is doubtful that any verbal explication could enhance the experience of the composition. It is impos- sible to miss the suggestions of sensuality, bravado, and delirious flight that flow from the music, and a listener needs no more than that. Don Juan is a great show- piece, a chance for any orchestra to show its virtuosity. But Strauss can be lyrical also, as in the poetic oboe solo that forms the focal point of the tone poem’s cen- tral episode. ROUSE: FLUTE CONCERTO Born: February 15, 1949, in Baltimore First Performance: October 27, 1994, in Detroit, Carol Wincenc was soloist, with Hans Vonk conducting the Detroit Symphony Scoring: solo flute, 3 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, strings Performance Time: approximately 28 minutes St. Louis Symphony Powell Hall 718 N. Grand Blvd. St. Louis, MO 63103 Phone: 314-286-4134 Fax: 314-286-4474 www.stlsymphony.org

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Page 1: St. Louis Notes

MONDAY, MARCH 18, 2013, 8PMPre-concert lecture by Christopher Russell, 7pm

Segerstrom Center for the ArtsRenée and Henry Segerstrom Concert Hall

st. louis symphonyDaviD RobeRtson, conDuctoR

maRk spaRks, flute

Don Juan, Op. 20 (1888-89) Richard STRAUSS(1864-1949)

Flute Concerto (1993) Christopher ROUSE(b. 1949)

AmhránAlla marciaElegiaScherzoAmhrán

Mark Sparks, flute

- INTERMISS ION -

Till Eulenspiegel’s lustige Streiche Richard STRAUSS(Till Eulenspiegel’s Merry Pranks) (1864-1949)Op. 28 (1894-95)

Symphonie Mathis der Maler Paul HINDEMITH(Matthias the Painter) (1933-34) (1895-1963)

Engelkonzert (Angelic Concert)Grablegung (Entombment)Versuchung des heiligen Antonius (Temptation of St. Anthony)

Programs, artists and dates subject to change. Photographing or recording this performance without permission is prohibited. Kindly disable pagers, cellular phones

and other audible devices.

Exclusive Print Sponsor

STRAUSS: DON JUAN, OP. 20

Born: June 11, 1864, in Munich Died: September 8, 1949, in Garmisch-Partenkirchen,Bavaria

First Performance: November 11, 1889, in Weimar,conducted by the composer

Scoring: 3 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion,harp, strings

Performance Time: approximately 17 minutes

THE LOVER AS ROMANTIC HERORichard Strauss initially gained widespread attentionin the 1880s with a series of remarkable tone poems,orchestral pieces based on dramatic or literary ideas.The first to achieve unqualified success was Don Juan.Strauss found his inspiration for the piece in a versefragment by the Austrian writer Nikolaus Lenau. Inthat work, which Lenau left unfinished at his death in1851, the poet transforms the Don Juan legend as thestory of an archetypal Romantic hero. Instead of thecruel seducer we find in other versions of his story,Lenau’s Don is a dreamer driven on an impossible pur-suit of ideal beauty. “That magical circle, immeasurablywide, of beautiful femininity,” he declares in Lenau’sverses, “I want to traverse in a storm of pleasure, anddie of a kiss upon the lips of the last woman.”

Lenau’s text inspired Strauss to a bold and originalflight of musical fantasy. The composer offered no spe-cific program, no written narrative, for Don Juan,though it is doubtful that any verbal explication couldenhance the experience of the composition. It is impos-sible to miss the suggestions of sensuality, bravado, anddelirious flight that flow from the music, and a listenerneeds no more than that. Don Juan is a great show-piece, a chance for any orchestra to show its virtuosity.But Strauss can be lyrical also, as in the poetic oboesolo that forms the focal point of the tone poem’s cen-tral episode.

ROUSE: FLUTE CONCERTO

Born: February 15, 1949, in Baltimore

First Performance: October 27, 1994, in Detroit,Carol Wincenc was soloist, with Hans Vonk conducting the Detroit Symphony

Scoring: solo flute, 3 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3trombones, tuba, timpani, percussion, harp, strings

Performance Time: approximately 28 minutes

St. Louis SymphonyPowell Hall

718 N. Grand Blvd. St. Louis, MO 63103Phone: 314-286-4134Fax: 314-286-4474

www.stlsymphony.org

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STRAUSS: TILL EULENSPIEGEL’S LUSTIGESTREICHE (TILL EULENSPIEGEL’S MERRYPRANKS), OP. 28

First Performance: November 1895, in Cologne, conducted by Franz Wüllner

Scoring: 3 flutes, piccolo, 3 oboes, English horn, 2 clarinets, bass clarinet, E-flat clarinet, 3 bassoons,contrabassoon, 4 horns, 3 trumpets, 3 trombones,tuba, timpani, percussion, strings

Performance Time: approximately 15 minutes

A LEGENDARY PRANKSTERSince the 16th century, accounts have circulated of thedeeds and misdeeds of Till Eulenspiegel, one of themost colorful figures in German folklore. Till was arogue, a prankster and, above all, an impudent mockerof authority. Confusion and disorder followed himeverywhere. He overturned stalls in the marketplace,caricatured priests and politicians, seduced young girlsand deceived old maids. His tricks usually were at theexpense of the most staid members of society—therich, the pious, the dull, and the prudish—and thusprovided both entertainment and social satire.

Till’s fame has spread beyond Germany largely by wayof the musical portrait of him created by RichardStrauss in Till Eulenspiegel’s lustige Streiche, a title usu-ally translated as “Till Eulenspiegel’s Merry Pranks.”Completed in 1895, this tone poem is unusual amongStrauss’s works in this form for its brevity, humor, andlack of a detailed program—that is, an outline of thedramatic ideas embodied in the music. On this lastmatter, the composer wrote: “It is impossible for me tofurnish a program for Till Eulenspiegel; were I to putinto words the thoughts which its several incidentssuggest to me, they would not suffice for the listener

DOUBLE SUCCESS The American composer Christopher Rouse hasachieved the sort of double success to which many ofhis colleagues aspire but seldom realize, writing musicthat is highly respected within his profession anddeeply appreciated by concert audiences. Rouse is anextremely adept composer, well schooled in the mod-ern techniques of his craft. But communication, ratherthan compositional intricacy, has always been his prin-cipal concern, and he has shown little interest in exper-imenting with new sounds and procedures simply forthe sake of novelty. “I don’t know what the avant-garde is any more,” Rouse once stated in an interview,“but I’m pretty sure I was never a part of it. The factthat I had my undergraduate training in the late ’60smeant that I willingly tried my hand at all sorts ofavant-garde approaches. But I kept coming back to thenotion that the technique involved was less importantthan my need to express, which must mean that I’vealways been a Romantic at heart.”

CELTIC REQUIEMRouse composed his Flute Concerto in 1993 for thestellar flutist Carol Wincenc. The composer explainsthat the work was inspired largely by the rich musicaltradition of the British Isles. “Although both of myparents’ families immigrated to America well beforethe Revolutionary War,” the composer observes in apreface to his concerto, “I nonetheless still feel a deepancestral tug of recognition whenever I am exposed toarts and traditions of the British Isles, particularlythose of Celtic origin.”

The concerto’s five movements form an arch design. Ateach end are very similar movements titled “Àmhrán,”the Gaelic word for “song.” True to that meaning,these opening and closing portions of the compositionbring a serene lyricism, the solo flute singing almost inthe manner of an Irish folk song over eloquent, slow-moving harmonies provided by the orchestra.

The heart of the concerto, in every sense, is the thirdmovement. Rouse conceived it as a requiem for JamesBulger, a child whose abduction and murder by a pairof 10-year-old English boys shocked all of Britain andour composer, who responded with this great elegiacoutpouring.

On each side of that centerpiece comes lively music, amarch as the second portion of the work, and, as thefourth, a scherzo with rhythms suggesting a jig.Although clearly referring to traditional kinds ofmusic, Rouse refracts the characteristic sound of hismodels through the prism of his highly developed com-positional technique, retaining something of their colorand energy while creating out of them quite new andexhilarating musical invention.

Richard Strauss

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and might even give offense. Let me therefore leave itto my hearers to crack the nut the rogue has presentedthem.” He went on to admit only that the final “scene”of the tone poem represents Till’s capture, trial, andhanging.

A MUSICAL ROMP Till Eulenspiegel opens with five measures of prologuewhose gentle musing seems to say: “Once upon a time....” Immediately the horn intrudes with the first oftwo thematic ideas associated with the title character.The second, a sly motif announced by a solo clarinet,follows shortly. These two subjects appear repeatedlyand in a variety of guises in the episodes that follow, asthe orchestra romps with Till through his riotousadventures.

But just as the proceedings reach a height of exuber-ance, they are halted by a chilling drum roll. Loudchords now thunder accusations at Till, which heanswers with the insolent clarinet motif. This figurepersists even as the rope is tightened around his neck,at last ending in a squeal as the gallows claim theprankster. Now the mild music of the prologuereturns, as if to assure us that all this has been only astory. But Till may yet have the last laugh: the finalmoments suggest his spirit still alive and at large in theworld.

HINDEMITH: SYMPHONIE MATHIS DER MALER(MATTHIAS THE PAINTER)

Born: November 16, 1895, in Hanau, near FrankfurtDied: December 28, 1963, in Frankfurt

First Performance: March 12, 1934, in Berlin;Wilhelm Furtwängler conducted the BerlinPhilharmonic

Scoring: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba,timpani, percussion, strings

Performance Time: approximately 25 minutes

A COMPOSER UNDER FIREPaul Hindemith’s opera Mathis der Maler (Matthiasthe Painter) was born of a collision between artisticideals and political reality, which describes both thework’s subject and the conditions surrounding its cre-ation. Hindemith first considered composing a workon the life of Matthias Grünewald, the 16th-centurypainter, in 1932. At first, he found insufficient dramain the subject and turned to other projects. But historicevents soon changed his mind. In January 1933, Hitler

became Chancellor of Germany, and official denuncia-tion of “decadent” modern artists began to issue fromhis Ministry of Culture. Hindemith was a prime target. In these changed circumstances, the subject of“Matthias the Painter” took on entirely new meaning.In June 1933, Hindemith began writing an operalibretto that told an allegorical drama of an artist,Matthias, caught in a political maelstrom, the Peasants’War of 1524. “He is gripped by the subject,” a friendreported, “the atmosphere in which he is steeped, theoverall parallels between those former times and ourown, and above all by the theme of the artist’s lonelyfate.”

Hindemith was still in the early stage of his work onMathis der Maler when he received a request fromWilhelm Furtwängler, conductor of the BerlinPhilharmonic, for a new orchestral piece. The compos-er had already decided to preface each of the opera’sacts with an instrumental prelude that would be a kindof musical representation of one of the panels of theIsenheim Altarpiece, Grünewald’s most famous work.Not wishing to disrupt his concentration on the opera,he adapted three of these preludes to create a sym-phonic score.

The success of the resulting Symphonie Mathis derMaler—it was loudly applauded and favorablyreviewed—persuaded Hindemith that performance ofthe opera would proceed routinely. This was not to be.In June 1934, the Nazis banned Hindemith’s musicfrom radio broadcast. Permission to produce Mathiswas denied soon thereafter. The opera was finallystaged in 1938 in Switzerland, where Hindemithwould soon be living as a refugee.

MUSIC ANGELIC AND HUMANThe first of the symphony’s three movements openswith “celestial” chords and a melody, announced by thetrombone, based on a folk tune whose title translates“Three Angels Sang a Sweet Song.” With this preludeconcluded, Hindemith proceeds to the main portion ofthe movement, whose climax is marked by a return ofthe folk tune.

The tone of the second movement is subdued and rev-erent. In the finale, Matthias relives the temptations ofSt. Anthony, as various characters from the operaappear in a vision and tempt him with pleasure andpower. Matthias resists, and the symphony closes witha great hymn of thanksgiving.

Program notes © 2012 by Paul Schiavo

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DAVID ROBERTSONA consummate musician, masterful programmer, anddynamic presence, David Robertson has establishedhimself as one of today’s most sought-after Americanconductors. A passionate and compelling communicatorwith an extensive orchestral and operatic repertoire, hehas forged close relationships with major orchestrasaround the world through his exhilarating music-makingand stimulating ideas. In fall 2012, Robertson launchedhis eighth season as Music Director of the 133-year-oldSt. Louis Symphony. In January 2014, while continuingas St. Louis Symphony music director, Robertson willalso assume the post of Chief Conductor and ArtisticDirector of the Sydney Symphony in Australia.

In September 2012, the St. Louis Symphony andRobertson embarked on a European tour, which includ-ed appearances at London’s BBC Proms, at the Berlinand Lucerne festivals, and culminated at Paris’s SallePleyel. In March 2013, Robertson and his orchestrareturn to California for their second tour of the season,which includes an intensive three-day residency at theUniversity of California Davis and performance at theMondavi Center for the Performing Arts, with violinistJames Ehnes as soloist. The orchestra will also performat venues in Costa Mesa, Palm Desert, and SantaBarbara, with St. Louis Symphony Principal FluteMark Sparks as soloist.

In addition to his current position with the St. LouisSymphony, Robertson is a frequent guest conductor

with major orchestras and opera houses around theworld. During the 2012-13 season he appears withprestigious U.S. orchestras such as the New YorkPhilharmonic, Los Angeles Philharmonic, and SanFrancisco Symphony, as well as internationally withthe Royal Concertgebouw Orchestra,Symphonieorchester des Bayerischen Rundfunks,Vienna Radio Symphony Orchestra, IsraelPhilharmonic, and Ensemble Intercontemporain.

Born in Santa Monica, California, David Robertsonwas educated at London’s Royal Academy of Music,where he studied horn and composition before turningto orchestral conducting.

MARK SPARKSMark Sparks was appointed Principal Flute of the St.Louis Symphony by the late Hans Vonk in 2000. He isa frequent soloist with the St. Louis Symphony andother orchestras and has performed in the UnitedStates, Europe, Scandinavia, South America, and Asia.He has appeared as Guest Principal Flute with manyensembles, including the New York Philharmonic,Chicago Symphony, Pittsburgh Symphony, DetroitSymphony, and the Bergen (Norway) Philharmonic. Inaddition to these performances of the Rouse Concertowith the St. Louis Symphony, Sparks has recently per-formed the piece in Singapore and Taiwan, with plansunderway for both the Chinese and Korean premiers.Prior to his appointment in St. Louis, Sparks wasAssociate Principal Flute with the Baltimore

David Robertson

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Symphony under David Zinman, and Principal Fluteof the San Antonio Symphony and the MemphisSymphony. He began his career as Principal in theCanton Ohio Symphony and in Venezuela with theCaracas Philharmonic.

This summer Sparks returns to the Aspen MusicFestival and School where he is an artist-faculty mem-ber and Principal Flute of the Aspen ChamberSymphony. He also will be teaching his fourth-annualmaster class at Missouri's Innsbrook Institute, andwill join the faculty of the Pacific Music Festival inSapporo, Japan.

Sparks is an enthusiastic teacher and maintains a pri-vate studio in St. Louis. He is a former full-time facul-ty member of the Peabody Institute, and frequentlypresents clinics and recitals in the U.S. and abroad.Sparks has recorded two solo albums, appearing on theSummit and AAM labels, and a new recording ofFrench repertoire for flute and piano is planned forrelease in 2013. Sparks is also an avid writer aboutflute playing, and is a regular contributor to Flute Talkmagazine's feature "From the Principal's Chair." Born in 1960 and raised in Cleveland and St. Louis,Mark Sparks graduated Pi Kappa Lambda from theOberlin Conservatory as a student of RobertWilloughby, winning the 1982 Oberlin ConcertoPrize.

ST. LOUIS SYMPHONYFounded in 1880, the St. Louis Symphony is the sec-ond-oldest orchestra in the country and is widely con-sidered one of the world’s finest. In September 2005,internationally acclaimed conductor David Robertsonbecame the 12th Music Director and secondAmerican-born conductor in the orchestra’s history. Inits 133rd season, the St. Louis Symphony continues tostrive for artistic excellence, fiscal responsibility, andcommunity connection.

The St. Louis Symphony is one of only a handful ofmajor American orchestras invited to perform annuallyat the prestigious Carnegie Hall, with a return inNovember 2013 for a concert performance of Britten’sPeter Grimes in celebration of the composer’s cente-nary. Recordings by the Symphony have been honoredwith six Grammy Awards and 56 Grammy nomina-tions over the years. The Symphony has embracedtechnological advances in music distribution by offer-ing recordings over the Internet, including live per-formances of John Adams’s Harmonielehre,Szymanowski’s Violin Concerto No. 1, with ChristianTetzlaff, and Scriabin’s The Poem of Ecstasy availableexclusively on iTunes and Amazon.com. In 2009, theSymphony’s Nonesuch recording of John Adams’Doctor Atomic Symphony and Guide to Strange Placesreached No. 2 on the Billboard rankings for classicalmusic, and was named “Best CD of the Decade” by theTimes of London. A Nonesuch recording of Adams’City Noir and his upcoming concerto for saxophone,with Robertson and the Symphony, is planned for thenear future.

In September 2012, the St. Louis Symphony receivedacclaim for its first European tour with Music DirectorDavid Robertson. The Symphony visited internationalfestivals in London, Berlin, and Lucerne, as well asParis’s Salle Pleyel.

In June 2008, the St. Louis Symphony launchedBuilding Our Business, which takes a proactive, two-pronged approach: build audiences and re-invigoratethe St. Louis brand, making the Symphony and PowellHall the place to be; and build the donor base forenhanced institutional commitment and donations.This is all part of a larger strategic plan adopted inMay 2009 that includes new core ideology and a 10-year strategic vision focusing on artistic and institu-tional excellence, doubling the existing audience, andrevenue growth across all key operating areas.

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Mark Sparks

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Ned O. LemkemeierChairman of the Board ofTrustees

Fred BronsteinPresident and Chief ExecutiveOfficer

David RobertsonMusic Director

Amy KaiserDirector of the St. LouisSymphony ChorusAT&T Foundation Chair

Kevin McBethDirector of the St. LouisSymphonyIN UNISON® Chorus

FIRST VIOLINDavid HalenConcertmasterEloise and Oscar Johnson, Jr.Chair

Heidi HarrisAssociate ConcertmasterLouis D. Beaumont ChairMabel Dorn Reeder HonoraryChair

Celeste Golden BoyerSecond AssociateConcertmaster

Erin SchreiberAssistant Concertmaster

Dana Edson MyersJustice Joseph H. and Maxine Goldenhersh Chair

Jessica ChengMargaret B. Grigg Chair

Charlene ClarkEmily HoSilvian IticoviciSecond Associate Concertmaster Emeritus

Helen KimJane and Whitney HarrisChair

Joo KimManuel RamosXiaoxiao QiangAngie SmartMary and Oliver LangenbergChair

Hiroko YoshidaEllen dePasquale**

SECOND VIOLINAlison HarneyPrincipalDr. Frederick Eno WoodruffChair

Kristin AhlstromAssociate PrincipalVirginia V. Weldon, M.D.Chair

Eva KozmaAssistant Principal

Rebecca Boyer HallNicolae BicaDeborah BloomLisa ChongElizabeth Dziekonski

Lorraine Glass-HarrisLing Ling GuanJooyeon KongAsako KubokiWendy Plank RosenShawn Weil

VIOLABeth Guterman ChuPrincipalBen H. and Katherine G.Wells ChairKathleen MattisAssociate Principal

Christian WoehrAssistant Principal

Weijing Wang***Mike Chen***Gerald FlemingerSusan GordonLeonid GotmanMorris JacobDi ShiShannon Farrell WilliamsEva Stern**Chris Tantillo**

CELLODaniel LeePrincipalFrank Y. and Katherine G. Gladney Chair

Melissa BrooksAssociate PrincipalRuth and Bernard FischlowitzChair

Catherine LehrAssistant Principal

Anne FagerburgJames CzyzewskiDavid KimAlvin McCallBjorn RanheimElizabeth Chung**Davin Rubicz**

DOUBLE BASSUnderwritten in part by agenerous gift from Jeanne and Rex SinquefieldErik HarrisPrincipalHenry Loew Chair

Carolyn WhiteAssociate Principal

Christopher CarsonAssistant Principal

David DeRisoWarren GoldbergSarah HoganDonald MartinRonald Moberly

HARPPrincipal*Elizabeth Eliot MallinckrodtChair

Megan Stout**Acting Principal

FLUTEMark SparksPrincipalHerbert C. and Estelle Claus Chair

Andrea KaplanAssociate Principal

Jennifer Nitchman

PICCOLO*

OBOEPeter BowmanPrincipalMorton D. May Chair

Barbara OrlandActing Co-Principal

Philip RossActing Co-Principal

Michelle Duskey**Cally Banham

ENGLISH HORNCally Banham

CLARINETScott AndrewsPrincipalWalter Susskind Chair

Diana HaskellAssociate PrincipalWilfred and Ann LeeKonneker Chair

Tina WardJames Meyer

E-FLAT CLARINETDiana Haskell

BASS CLARINETJames Meyer

BASSOONAndrew CuneoPrincipalMolly Sverdrup Chair

Andrew GottAssociate Principal

Felicia FolandAndrew Thompson

CONTRABASSOONAndrew Thompson

HORNRoger KazaPrincipal W.L. Hadley and Phoebe P. Griffin Chair

Thomas JöstleinAssociate Principal

James WehrmanTod BowermasterGregory Roosa***Lawrence StriebyJulia Erdmann**

TRUMPETPrincipal*Symphony Women’sAssociation Chair

Thomas DrakeActing Principal

Michael WalkActing Associate PrincipalDavid J. Hyslop Chair

Joshua MacCluer***Caroline Schafer**Kevin Cobb**

TROMBONETimothy MyersPrincipalMr. and Mrs. William R.Orthwein, Jr. Chair

Associate Principal*Vanessa Fralick**Acting Associate Principal

Jonathan ReycraftGerard Pagano

BASS TROMBONEGerard Pagano

TUBAMichael SandersPrincipalLesley A. Waldheim Chair

TIMPANIPrincipal*Symphony Women’sAssociation Chair

Thomas StubbsAssociate PrincipalPaul A. and Ann S. Lux Chair

PERCUSSIONWilliam JamesPrincipal St. Louis Post-Dispatch Foundation Chair

John KasicaDistinguished Percussion Chair

Thomas Stubbs

KEYBOARD INSTRUMENTSPrincipal*Florence G. and Morton J.May Chair

MUSIC LIBRARYElsbeth BruggerLibrarian

Henry SkolnickAssistant Librarian

Roberta GardnerLibrary Assistant

STAGE STAFFBruce MourningStage Manager

Joseph ClapperAssistant Stage Manager

Joshua RiggsStage Technician

Jeffrey Stone

*Chair vacant**Replacement***Leave of Absence

st.�LOuis�syMPhOny133rd�season,�2012-2013